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NUMBER 52 • SPRING 2015 43 Cennini, were introduced to Wyeth by Peter Hurd. Th e photographer James Welling provided a link between the conference at the Gallery and the intense fi eld trip to the Brandywine River Museum held the following day. In his talk, Welling described his understanding of the perceptual acuity of Wyeth, whose work he had studied as a youth and returned to in 2010, photographing sites that Wyeth inhabited and rep- resented. Welling’s photography has been called a kind of ventriloquism, and his studies of Wyeth’s territory in particular a kind of haunting. Th rough working in Maine and Chadds Ford, Pennsylvania, over the past few years, Welling says that he has come to see how his own interest in frames, fram- ing edges, windows, and doorways, Fig. 1. Andrew Wyeth, Brandywine as well as in water and wind, was Valley, 1940, watercolor on wove paper, confi rmed by Wyeth’s work, though The Armand Hammer Collection the relationship is never literal. Th e Gallery’s Wind from the Sea by Wyeth Fig. 2. James Welling, Wind from the Sea, inspired Welling’s photograph of the 2012, archival inkjet print on rag paper, same title made in 2012 (fi g. 2). At Chadds Ford, a smaller group courtesy of the artist and David Zwirner, discussed Wyeth’s paintings and draw- New York/London, The Olson House, a ings on display in the Brandywine National Historic Landmark, owned and River Museum. Joyce Hill Stoner operated by the Farnsworth Art Museum, conserved many of these works with Rockland, Maine Wyeth’s guidance, and her oral his- tory, shared in the galleries, will be a remarkable record for the future. Visits to the sunlit studios of Wyeth and his father, N. C. Wyeth, and to the mysterious spaces of the Koerner farm- house and surrounding landscape set the stage for new thoughts about the artist and the study of American art. • Elizabeth Cropper, Dean, Center for Advanced Study in the Visual Arts.

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Celebrating Andrew Wyeth the American Artist’S Centennial Is Being Honored with Two Major Retrospectives of His Work
along the way Celebrating Andrew Wyeth The American artist’s centennial is being honored with two major retrospectives of his work. Andrew Wyeth may have been a favorite of U.S. presidents. In 1963, he became the first painter to receive the Presidential Medal of Freedom when John F. Kennedy bestowed the honor. Richard Nixon once sponsored a White House exhibition of works by the Pennsylvania- and Maine- based artist, and both Bushes honored Wyeth, with the Congressional Gold Medal in 1990 and the National Medal of the Arts in 2007. At the other end of the spectrum, comic- strip character Snoopy owned a Wyeth that he displayed prominently in his doghouse. In between, the artist was alternately lauded and dismissed by critics but remained a perennial commercial favorite. This year marks the centennial of Wyeth’s birth, and two major museum retrospectives have been assembled NORTH CAROLINA MUSEUM OF ART, RALEIGH ART, OF MUSEUM CAROLINA NORTH ©ANDREW WYETH/ARTISTS RIGHTS SOCIETY (ARS), RIGHTS WYETH/ARTISTS ©ANDREW for the occasion. Andrew Wyeth at 100 can be seen at Winter 1946, tempera, Andrew Wyeth (1917-2009) the Farnsworth Art Museum in Rockland, Maine, through December 31 (farnsworthmuseum.org), and Andrew in Andrew Wyeth: Maine Watercolors, 1938–2008, the focal Wyeth: In Retrospect is on display through September exhibition in a series of five exhibitions that make upAndrew 17 at the Brandywine River Museum in Chadds Ford, Wyeth at 100, on display at the museum’s Wyeth Center and in Pennsylvania (brandywinemuseum.org), and from October its Hadlock and Wyeth Study Center galleries.
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The Farnsworth Art Museum's Campaign Case for Support
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Selected Chronology of James Wyeth
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Wyeth Christina’S World
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Christina's World
From Henry’s Desk…………..Christina’s World Twelve years ago I wrote an article entitled “Christina’s World.” The article was about Christina Olson who was the young woman in the painting by Andrew Wyeth. A print of the painting is below. Several weeks ago, Dr. Mike Grizzard, a specialist in infectious diseases, called me on the phone. He informed me that Christina’s World would be on the cover of an upcoming issue of Clinical Infectious Diseases. This medical journal is the main journal for infectious disease specialists. Dr. Grizzard and his wife Mary are responsible for selecting the cover of each issue. Mary Grizzard has a doctorate in art history. They used portions of my article which was originally published in the Deja View in 2000. The article does not appear to be on the web site of the Central Virginia Post Polio Support Group, but readers can get a copy of the 2000 article by e-mailing me at [email protected]. The explanation of the cover of the journal is copied below the picture. On the cover: “Christina’s World” by Andrew Wyeth (American, 1917-2009). Tempura on gessoed panel. 1948. The Museum of Modern Art, New York, NY. Art Resource, NY. Reproduced with permission. In recounting the events of 1948 in his book, Truman, author David McCullough wrote, “It was the year, too, of Christina’s World, a haunting portrait by Andrew Wyeth of a crippled woman and a forsaken house on a bleak New England hill...that would become one of the most popular paintings ever done by an American.” Following the polio epidemic of 1916 in which over 27,000 contracted the disease and 6000 died, most assumed that any “crippled person” would have been affected by the disease, yet her condition remains an enigma.
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Farnsworth Art Museum Arts in Education Program
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ART Issue 2012 Artist Listing
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Andrew Wyeth Studio and Kuerner Farm NHL Nomination
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Christina's World
Christina’s American icon andWorld medical enigma Christina’s World, 1948. © Andrew Wyeth. Tempera on gessoed panel, 32¼ x 47¾ inches. The Museum of Modern Art, New York, New York. Photo credit: Digital Image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY. 4 The Pharos/Summer 2007 Christina’s Ronald J. Anderson, MD The author (AΩA, Albany Medical College, 1962) is associ- The house in the painting, the Olson family farmhouse, fas- World ate professor of Medicine at Harvard Medical School and cinated the artist. Originally a boarding house with many bed- a physician in the Division of Rheumatology at Brigham & rooms, during Christina’s life it served as a farmhouse that by Women’s Hospital in Boston. the 1930s had fallen into disrepair. During the period 1939 to 1968 Wyeth used the house and its vistas as the subject of over fifty of his paintings and more than one hundred sketches. he painting Christina’s World by Andrew Wyeth is The artist formed a long-term friendship with the Olsons considered, along with Grant Wood’s American Gothic and frequently used the upper bedrooms as his art studio. He and James MacNeill Whistler’s Study in Gray and produced two other paintings of Christina: Christina Olson TBlack (“Whistler’s Mother”), one of the most indelible images in 1947 and Anna Christina in 1967. Since the mid-1990s the of American art. Depicting an apparently crippled woman in house and the adjoining farmland has been preserved by the an open field looking up toward a house and barn on a bleak Farnsworth Art Museum of Rockland, Maine, as an integral New England hillside, the painting is a study in ambiguity.
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