Spring 2010 Newsletter

A New Organization is Formed 2010 Exhibition Brings A new chapter in the story has Women Artists to Light begun. On October 19th, 2009, May 2 - October 31 the New York State Board of Regents approved a charter This May, join us for the opening of our new exhibi- establishing an independent tion, “Remember the Ladies: Women of the Hudson non-profit organization to own River School,” the Lisa Fox Martin and operate the home of Thom- first known exhibi- Board Chairman as Cole. For the past ten years, tion to focus solely the historic site has been owned by the Greene County on the women art- Historical Society, which owns several other impor- ists associated with tant historic properties. ’s home and the 19th-century studio will now be run as an independent non-profit paint- organization. ing movement. The exhibition will Although the ownership structure is new, the people include approxi- who are involved remain the same. The new orga- mately 25 works of nization’s Board of Trustees consists of the same art by artists such twelve people who were on the “Cole Committee” of as Julia Hart Beers, the Greene County Historical Society, with the same (sister to William officers including Lisa Fox Martin as Chairman. The and James Hart), three paid staff – Betsy Jacks, Joanna Frang, and Linda Bartula – have been retained by the Trustees to work (niece to William for the new organization. A new part-time person, Sidney Mount) Melissa Gavilanes, was added this year. Harriet Cany Peale, , 1858. Susie Barstow, oil on canvas, 36x25 in. Private collection Eliza Greatorex, With the new charter, the organization launched a Harriet Cany Peale, and Josephine Walters among new graphic identity that is at the top of this newslet- others. Also included are artworks by Thomas Cole’s ter. The name, “Thomas Cole National Historic Site,” own sister and daughter Emily Cole. was assigned to the site in 1999 by an act of the U.S. The exhibition is co-curated by Nancy Siegel, Asso- Congress when they made it an affiliate of the Nation- ciate Professor of Art History at Towson University, al Park Service. In addition, New York State has given Towson, MD and Jennifer Krieger, Managing Partner the site the name “Thomas Cole Historic House,” a of Hawthorne Fine Art in Manhattan. The exhibition designation that appears on the back. The graphic will be accompanied by a printed exhibition catalogue identity was designed as a pro-bono project by Abbott with full-color illustrations. The title of the exhibi- Miller of the world-renowned design firm, Pentagram, tion is taken from a letter from Abigail Adams to John of New York and London. The words “Thomas Cole” Adams in 1776: “I desire you would Remember the are in a 19th century font that still appears fresh and Ladies… if particular care and attention is not paid to vibrant today, and the color is the yellow of the Main the Ladies we are determined to foment a Rebellion.” House. The graphic motif is Thomas Cole’s own unique easel that is now on view in his studio, ren- dered here in the historic style of silhouette. Supported by Michael Altman Fine Art & Advisory Services, Hawthorne Fine Continued on page 3 Art and the Greene County Legislature through the CIP of the GCCA Report from the Director

In our last newsletter I wrote to “modules” for several different age levels. It has been you as director of a different orga- a big change to see so many little people here, and we nization, the one that was oper- love it. ated by the Greene County His- torical Society. As explained in the As many of you cover article of this newsletter, in know, Thomas Cole November I joined the new board designed and had

Elizabeth Jacks of the newly established “Thomas built an ornate new Executive Director Cole Historic House”. Here in my studio for himself office I have the charter, complete here in 1846, but with the gold seal of the New York State Department it was demolished of Education. We are all very excited! I’d like to take in the 1970s. This this opportunity to thank the trustees of the Greene magnificent build- County Historical Society for harboring us until we ing, however, has were ready to set sail. Archaeology reveals foundation stones. reappeared – well, at least part of it has. The entire surface of the New The 2009 Studio foundation has been excavated, and I had the season ended pleasure of walking on the original stones last fall. with a bang Until now it only ex- on October isted on paper and in 25th with a our imaginations. Quite lecture by suddenly, we can actu- one of the ally see it. The dimen- most revered sions of the building are scholars of confirmed to be 24 x American 42 feet, or 1008 square art, Barbara feet. With this informa- Barbara Novak’s talk. Photo by Susan Wides Novak. I had tion, the architect Mari- the thrill of showing her Thomas Cole’s home and lyn Kaplan can complete studio, and she was as excited as a teenager to see her work to create the the actual easels in the room where Cole painted his drawings and plans. famous series “The Voyage of Life.” Dr. Novak’s talk later that afternoon presented a profound case for the We have a lot of digging going on at the historic importance of understanding our past and American site. By spring we will (hopefully!) finish the park- cultural history in order to understand our own time. ing lot with a large circle where a bus can enter and completely turn around. We will also be getting new I’m pleased to report that our attendance continues to climb. Ticket sales were up 32% over last year! We also increased our school group visits dramatically due to our new school programs. All in all, we had over 450 students and teachers from local gravel paths all around the site, as well as outdoor schools participating. Our new Programs Coordina- lighting and hundreds of new trees. For an overview tor, Melissa Gavilanes, is overseeing this large and of the landscape plan, see the drawing on the back complex new program that has five specially-designed page of this newsletter. 2 Turning now to the interior spaces, I am excited to report that a great deal of new information has been New Organization... Continued from cover found during the last twelve months. The Cole-era furnishings for the rooms in the Main House have The trustees and staff of Thomas Cole National His- been a mystery to us, as no interior photographs from toric Site are grateful to the many people who worked Cole’s time are known to exist. Fortunately, through to bring the site to this milestone, especially the a grant from the IMLS, we were able to hire historic Greene County Historical Society which has shep- herded our growth. Only ten years ago, Thomas Cole’s home – the birthplace of American landscape paint- ing – stood in ruins. The graceful Federal-style 1815 Main House was shedding roof shingles with each gust of wind, and a pool of water filled the basement after pipes had frozen and burst. The spacious wrap- around porch was too dangerous to walk on as the rotted boards gave way underfoot. In 1998 when the Greene County Historian, Raymond Beecher, came to the site to consider what could be done, he almost “slammed the door shut and said ‘forget it’”, he later recalled. Fortunately for the thousands of people who now visit the site each year, he instead led the charge to save it. The site was acquired by the Greene County Carpet fragment on Cole’s Chair Historical Society and opened to the public in July furnishings expert Jean Dunbar whose work has 2001. revealed many clues. Our “green room” was actually the Cole family dining room, our small gallery turns In the years that followed, the site experienced a out to be the room in which Thomas Cole slept, and meteoric rise. The first paid staff person was hired in the room we thought was his bedroom was actually 2003. Cole’s “Old Studio” was restored and loan ex- a Cole family parlour. Over the winter we acted on hibitions of paintings began in this new information, and a lot of furniture has been 2004. A visitor center and gift shop, a lecture series, moved around. Ms. Dunbar’s detective work has also and a second staff person were added in 2005. Grants revealed many new things to investigate, including from the Institute of Museum and Library Services what may be an actual fragment of the original carpet- and the National Endowment for the Humanities ing that was in the West Parlour. It was upholstered followed in 2006, bringing a new film about Thomas onto Thomas Cole’s chair! Her fascinating work will Cole for the visitor center and an extensive online continue in 2010. education center. The site’s operating budget doubled in four years, and attendance to the site grew ten fold. Two important cornerstones of financial stabil- ity materialized in 2009: a $1 million endowment bequeathed by Raymond Beecher, and news from the National Park Service that the site would begin receiv- ing operating support in 2010 and every year from now on.

Thomas Cole’s home, meanwhile, is still a work in progress. This year, the large brick piers that once marked the entrance will be rebuilt, along with the stone wall topped by a picket fence that graced the street frontage in Cole’s time. Apple orchards will be replanted all around the five-acre historic site, and a Board members and staff at the 2009 summer party gravel path will lead visitors to the place where Cole’s In the coming year I look forward to seeing all of our New Studio once stood. An architect is already hard at members and visitors back here for the opening day work on drawing up the plans to rebuild it. celebration of our 2010 exhibition of the women art- ists of the Hudson River School. Many thanks to you for supporting this wonderful place. 3 New Documentation on tions, for excerpt here. The editors of the Daily Albany Thomas Cole [N.Y.] Argus newspaper (February 15, 1848) remem- by Gerald L. Carr bered Cole thusly:

. . . [He] may be said to have stood at the head of his profession. In , he had no superior, Assisted by modern database technologies, a few if any equal, in America. . . . But if he was great as an months ago I retrieved the following posthumous artist, he was truly beloved as a man. In the village in tribute to Thomas Cole. Dated New York (i.e., Man- which he lived, and, which exhibits, in all directions, the hattan), February 15, 1848, the piece was authored by touches of his refining taste, clear intellect, and classic a correspondent signing himself (I assume the male mind; the church, of which he was a devoted member, gender) “H.F.” “H.F.” worked for The Vermont Chroni- and the interests of which he delighted to advance; and cle, a weekly newspaper with a Judeo-Christian slant, above all, the family and immediate friends, by whom he founded in 1826 and published in Bellows Falls, was a cherished object of regard and affection; his death Vermont. The editors printed “H.F.’s” “Letters from is deplored, by all classes, (as a letter justly says), as if New York. No. III” on the second page of their issue they had all lost a common friend and brother! for February 23, 1848. Writing a few days later (February 19, 1848), manag- By way of background, Thomas Cole’s death on 11 ers of The Harbinger, a Manhattan Associationist-- February 1848 at Cedar Grove following a brief ill- utopian-oriented--weekly, said this: ness, shocked friends, colleagues, acquaintances and journalists. What we might call a phased public with- . . . As a man, Mr. Cole was universally esteemed. His drawal (soon temporarily eclipsed by former President retiring habits, the perfect absence of pretension, exten- John Quincy Adams’s death) ensued. Originating in sive reading, noble sentiments, and fine religious sensi- New York State, printed and re-printed word of Cole’s bilities endeared him to all who knew him. There was decease spread quickly from New England through a feminine beauty in his character which made him as at least the Carolinas and parts of the Mid-West, by loveable in his deportment as he was admirable for his April 1848 reaching the United Kingdom, where Cole talents A quiet but genial enthusiasm pervaded his talk, was born in 1801 and had re-resided between mid- and he was utterly free from those petty jealousies which 1829 and mid-1831. A retrospective exhibit of his so frequently mar the intercourse of the irritable race. paintings held at the American Art-Union in New His studio and his home, beautifully situated within the York between late March and early May 1848, Wil- evening shadows of the Catskills, were delightful places liam Cullen Bryant’s commemorative oration for Cole of resort to all who were alive either to genius or worth. on May 4th, and Louis Legrand Noble’s announced It was, however, when ranging the spurs and cones of biography of Cole (Noble’s monograph was published those noble and profound mountains with him for a five years later, in 1853), generated new deliberations. companion, that you most deeply felt the loveliness and Toward the end of 1848, the display and sale of Cole’s grandeur of his spirit. The days so passed could never allegorical series, The Voyage of Life (1840; Munson- be forgotten. Thence Cole drew his rarest inspirations, Williams-Proctor Institute, Utica, N.Y.), at the Ameri- and now that he is gone we can only think of his spirit as can Art-Union, prompted additional response and hovering over the scenes in which he loved to dwell. reverence. Two days later still, signing himself “S.H.”, a Catskill, “H.F.”’s own discussion of Cole was, properly, per- N.Y., correspondent of the New York Daily Tribune sonal. While he had never met Cole, he had previ- (February 21, 1848) waxed nostalgic: ously and, by his estimate, thoughtfully viewed the artist's paintings, and he happened to reside with . . . His matchless pencil and pallet are now laid aside a Manhattan family, unnamed, who had known the forever, and his mortal remains shall but too shortly artist intimately. Their memories and emotions fu- moulder in the dust. Not so with his memory. So long as eled his eulogy. We should not wonder at the writer’s the creations of his immortal mind shall exist upon the palpable sentimentality or his emphases on Cole’s canvas, so long as taste and genius shall continue to be and (to use today’s parlance) people cherished, the name of COLE will be spoken with senti- skills. Published remembrances of Cole echoed and ments of admiration and pride, mingled with deep regret re-echoed one another in those respects. To make for his early decease. His death was in every way worthy the point I have chosen a further three, at least two of of his fame, and is a beautiful exemplification of his last them reprinted elsewhere after their initial publica- 4 series of pictures. He had long since chosen the Cross for remained steadfast to his early friends. His noble heart his guide, and it has doubtless led him to the enjoyment threw off the darts of temptation that fame and wealth of that land where there is no more pain, and where he cast from their full quivers, like burnished steel. Simple will abundantly realize all those glorious visions which and truthful he remained until the last hour. his undying fancy has so beautifully foreshadowed as the reward for him who shall seek the Cross and be directed I had only known him as Cole, the artist; never as Cole, and supported by it. the friend. I had looked upon his paintings, and studied and thought over them by the hour. I had felt my spirit Apropos “H.F.”, he was new at his job, having be- stirred to better things by their contemplation; but only gun corresponding from New York for The Vermont through his works had I known the man. Now I could Chronicle in early February 1848. Acquainted with know of him from those who had watched and known his the fine arts, he voiced issues felt by Americans of his whole progress—and though the story was told in tears, epoch. His inaugural letter to the Chronicle dealt, or yet it lost none of its deep interest. They spoke of him as attempted to deal, with Hiram Powers’s controversial being so pure, so elevated in all his views, as possessed statue, The Greek Slave. His next missive ruminated a of such a warm heart, and such a beautiful Christian local temperance meeting that he had attended. His character! third discourse was the present one, on Thomas Cole. Immediately below it, Vermont Chronicle proprietors His conversation was of the most interesting kind. He reprinted a poignant eulogy of Cole “communicated” was naturally social, and cordial in his feelings; his by Thomas Addison Richards (1820-1900) on behalf travels had furnished him with the means of extensive of the New York Sketch Club, of which organization and varied acquisition, and he was ever generously com- Cole had been an honorary member. A week and a municative. He illustrated his conversation by amusing half later, on March 4, 1848, The Christian Register, stories and incidents in his own experience—and gave a Boston weekly, republished “H.F.”’s “Letters from a life and glow to all he had to say. In person he was New York. No. III” in its entirety. rather tall and slender. His hair was thin.

The Vermont Chronicle, Bellows Falls, VT. February 23, He had received a great deal of money, by his paint- 1848, p30.Letters from New York, No. III, February ings. But in ways of benevolence; in the encouragement 15th, 1848: of the fine arts, and of young artists; in kind doings to his friends; in valuable acquisitions, he had invariably As I was coming down to dinner to day, I met a member expended all his income. He had been married eleven of the family with whom I have found a delightful home years, and has left a son, his first born, at an age when in this “wicked city,” and observed that she was weep- he most needed the moulding influence of a father, and ing. Just at that moment her father came in. She looked of such a father! Of this son, he had high hopes as a up into his face and touchingly said, “Father, Mr. Cole painter. When the boy was quite young he gave him a is dead.” “What, my daughter?” “Mr. Cole is dead.” piece of canvass and brushes and told him to paint some- “Mr. Cole? Thomas Cole?” “Yes, father.” “Thomas Cole thing, “just what he pleased.” After a while the lad came dead?” and the old man with his white locks turned away with the picture of a man kneeling in adoration, and to bear the first stroke of sorrow alone. This intelligence many stars above him.—“Well, Theodore, what have you startled me. I thought—Can it be Cole the painter? and here? What do these stars mean?” said Mr. Cole. “Why, I hurried on to inquire. “Yes, it is Cole the painter.” It Father,” the boy replied, “it is the first man who saw the was true; the great, good man, the artist, the friend, had stars!” A conception worthy of the son of such a sire. died. The telegraph had just brought them the news. I found upon inquiry that for twenty years they had known Of late years he had resided in Catskill. He could not him, and that he had been on the most intimate terms live in the city, because his valuable time was used up by with the family. the many people who came to see him. He was a man of untiring industry; and doubtless his severe labors of On his first arrival in the city when a young man, they this winter have been connected with his last sickness. had found him out,--and as month after month they I asked his friend when she last saw him. “Oh,” she knew him better, he had gained upon their hearts till he replied, “that last visit, I shall never forget it! It was in had won them all. He had been their chosen, choisest the summer. I was with friends not far from Catskill. I friend,--their kindest, most sympathizing brother. And was invited to spend the following day with him. On the as he grew up, and honors came rolling in upon him, as morning before, riding on horseback, and riding on and the rich and distinguished courted his society, he had ever on, I finally found myself so near his house that I thought

5 it best to continue on my way, rather than return. As I scured by imperfection. drew near the house, he spied me from the room where he was painting, and went and told his sister, ‘There is Miss I send you the following notice of his doings of the Sketch B. coming.’ They all ran out to meet me,--he without his Club, as worthy testimonial to his merits. Interesting hat; and gave me such a cordial greeting, I stayed till the notices of him are constantly coming out in the papers. next morning. It was raining then, and when he came All know of his “Voyage of Life,” and his choice landscape down to breakfast, as he met me with his pleasant good paintings. The most valuable painting in the Art Union morning, said, ‘Miss B. I am glad it rains to-day; friends Exhibition, the last year, was by Cole. It was styled in never go away when it rains.’ He had his easel brought the Catalogue “Home in the Woods,” and beneath the down into the back parlor, and there he worked all day, name was this verse: and we were in and out, chatting with him so delight- fully. At the tea table he said, ‘I fear I have an engage- “And minds have there been nurtured, whose ment out to-night; but if I have I’ll forget it and stay with control you, and we will have a quiet good talk. People don’t Is felt even in their nation’s destiny; expect company when it rains.’ So he sat down with us Men who swayed senates with a statesman’s nod, in the evening. His conversation was beautiful. We And looked on armies with a leader’s eye.” were speaking of an acquaintance who is an infidel.—I expressed my astonishment, and he responded heartily, How inestimable now are his productions! His sun has saying, ‘When I go forth on these mountains and look gone down at noon, but it has risen in a brighter, an on this beautiful world, I see God in every thing. I don’t eternal day! understand how a man can be a true artist without being a good man, a religious man.’ H.F.

He brought out a large pile of landscape sketches he had Gerald L. Carr is an art and architectural historian made in his travels, and which he intended to paint. We and head of the Frederic E. Church Catalogue Rai- looked them over together, and he explained them all sonné Project. He earned his BA at Michigan State so kindly and interestingly! We sat and talked till one University in 1964 and his PhD at the University of o’clock, and then he sat down and prayed. It was the last Michigan in 1976. He has held teaching positions at time I ever saw him.” the University of Michigan, the University of Cincin- nati and Southern Methodist University. Dr. Carr is Yes, the noble genius has gone to his eternal rest. In the author of several books including Frederic Edwin Heaven will his sanctified spirit find unending bliss, Church: ; The Early of Frederic drink in the full joys of holiness and love, and be ravished Edwin Church, 1845-1854 (with Franklin Kelly); and by celestial visions. There will he, as on earth, “see God Olana Landscapes. in everything,” and with an eye unveiled by sense, unob-

Calendar of Upcoming Events

Saturday, May 1 4-6 pm Saturday, June 5 9 am Members’ Preview and Reception for National Trails Day Hike on the the new exhibition, Hudson River School Art Trail “Remember the Ladies: Women of the Hudson River School”

Sunday, May 2 12-1:30 pm Sunday, July 4 Free Viewing of “ Remember the Ladies” exhibition Summer Party 2 pm Lecture by co-curators: Nancy Siegel, Associate Professor, Towson University Jennifer Krieger, Managing Partner, Hawthorne Fine Art

6 Thank you to our 2009 Supporters

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N E T Board of Trustees Lisa Fox Martin, Chairman 1 2 5 5 0 Hudson Talbott, Vice Chairman 218 Spring Street, p.o. Box 426 Catskill, New York 12414 Kenneth Williams, Treasurer Linda Gentalen, Secretary

David Barnes Warren Battle Carrie Feder Michel Goldberg Elizabeth Jacks Stephen Shadley Robin Smith Sybil Tannenbaum Randolph Wills

Staff Elizabeth Jacks, Executive Director Joanna Frang, Education Coordinator Linda Bartula, Executive Assistant Melissa Gavilanes, Programs Coordinator

Newsletter Staff Elizabeth Jacks Nathan French

Landscape Restoration Under way Over the winter and continuing in the spring, dramatic changes are taking place at Cedar Grove, bringing it back to the way it looked when Thomas Cole walked these paths, and also upgrading the cam- pus to accommodate the growing numbers of visitors. The street frontage will be greatly enhanced by a welcom- ing entrance gate, stone wall and piers that were part of the original Fed- eral landscape architec- ture. Orchard trees will flower in the spring, and evergreens will hide any 1. Restored Entrance Gate and Piers 5. Boundary Screen Plantings neighboring modern 2. Restored Wall & Picket Fence 6. Restored Cedar Grove elements. Come and see 3. Restored Carriage Drives and Paths 7. New Arrival Circle the progress this spring! 4. Orchard Plantings 8. New Parking