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Colby Alumnus Vol. 52, No. 1: Fall 1962

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Colby College Digital Commons @ Colby Colby Alumnus Colby College Archives 1963 Colby Alumnus Vol. 52, No. 1: Fall 1962 Colby College Follow this and additional works at: https://digitalcommons.colby.edu/alumnus Part of the Higher Education Commons Recommended Citation Colby College, "Colby Alumnus Vol. 52, No. 1: Fall 1962" (1963). Colby Alumnus. 218. https://digitalcommons.colby.edu/alumnus/218 This Other is brought to you for free and open access by the Colby College Archives at Digital Commons @ Colby. It has been accepted for inclusion in Colby Alumnus by an authorized administrator of Digital Commons @ Colby. The Colby Alumnus Fall 1962 Do ELSo F. HooPE Selection Committee fo r the Sesquicentennial urator of Exhibition, Corcoran Gallery D m . H JNGTO Exhibition of Art in Maine Department of Art, mith College JERE BBOIT JAMES THO 1AS FLEX ER J\IR. AND 1RS. ELL ·RTO M. JETTE A. M. ADLER '"'ILLIAM GERDT DR. Lo rs C. Jo ES Hirschl and Adler Curator, ewark .Museum Director HORATIO ALDEN LLOYD GOODRICH 'ew York tale Historical Association Director JORN I. H. BAUR Whitney Museum of American Art Associate Director Whitney Museum of American Art PROFE oR rnEL GREE fARRI ER Art Department, Wesleyan College • PROFESSOR PHILIP BEAM College Historian, Colby College Department of Art, Bowdoin College WE DELL HADLO K R1 II RD B. K. M NATHAN FRANCIS BILODEAU Director Farnsworth Library and Art Museum MILDRED BURRAGE ROBERT B. HALE Bostori A thenaeum WILLIAM CAMPBELL urator of American Art GERTRUD MELLON Curator, National Gallery of Art Metropolitan Museum of Art Iuseum of Modern Art PROFESSOR AMES CARPE TER IR . EDITH HALPERT J M. f ITH.EW . {EYER Department of Art, Colby College The Downtown Gallery PROFESSOR ' lLLIA '[ B. frLLER MARY BARTLEIT CowDRY PROFESSOR INCE T HARTGE Department of Art, Colby College Department of Art, University of Maine WILLARD CUMMINGS w. fRS. WILLIA [ M IR Director, Skowhegan School of BARTLEIT H. H YE Do ALO PmLBRI K Painting and Sculpture Director, Addison Gallery of American Art President, Jaine Historical Society J L· PROW Department of Art History, Yale University PERRY RATflB E Director, Boston fuseum of Fine Arts ATHAJ IEL ALTO STALL FREDERICK WE.ET Curator of American Art Art Institute of Chicago ROBERT C. Vos£, JR. Vose Galleries H D 0 D. WALKER ALICE WINCHESTER Editor, Antiques Magazine MR. A D 1R . WILLIAM ZoRAcH Maine - Its Role zn American Art publisher, Viking Press WILLIAM MUIR, Elemental (1961) COORDI A TING EDITOR collection of the artist Gertrud A. Mellon INTRODUCTION BY JOHN CURTIS NORMAN HIRSCHL Mary Ellen Chase Assistant Curator Hirschl and Adler CONTRIBUTI G AUTHORS Old Sturbridge Village James H. Baur LOUISA DRESSER PHILIP HOFER I. James M. Carpenter Curator, Worcester Art Museum Curator, Department of Printing and Graphic Arts, Harvard College Library Louisa Dresser ELIOT ELISOFON James T. Flexner Staff Photographer, Life Magazine ALBERT TEN EYCK GARDNER Lloyd Goodrich EITA FALKNER Associate Curator of American Art Donelson F. Hoopes Old Sturbridge Village Metropolitan Museum of Art Nina F. Little ART IN MAINE I WINSLOW HOMER, The Fox Hunt (1893) Philadelphia Academy of Fine Arts ART IN MAINE I John Singleton Copley and Gilbert Stuart define ' the faces of Maine's early settlers. Itinerant limners sign-painters, wood-carvers and metalworkers wan dered through the region, setting down an innocen history. Later artists - among them Homer, Hartle)l Marin - came to stay, for the year or for the seaso The mountains, waterways, unbroken forests �ere a to be explored and painted or their moods cut i1 stone and wood. And, of course, there always w the sea. 2 THE COLBY ALUMN Because, from the first days, artists have recorded Maine, there possibly exists no better revelation of the scope of American art than that inspired by its people and geography. A kind of stamina, particular to the area, in rocks and men makes strong impres­ sions. Working from this concept, Colby has insti­ tuted a major sesquicentennial year project: the focussing the state's art legacy into a threefold study. A large and unique exhibition comes first. A juxta­ position of Maine-inspired art works of two centuries, it will reflect constants associated with a common locale as well as present a sequential history of Ameri­ can painting, sculpture, and crafts. The contents of the show have been chosen by a most impressive group of artists, critics, museum and gallery curators and directors, and patrons (see inside front cover). Origi­ nating at the college's art museum in May, 1963, the iARSDE HARTLEY} The JiJ ave 'l\Torcester Art Museum FALL, 1962 3 JOH BELLAMY, Engle (1875) Shelburne Museum exhibition will tra el to art center of the country, including the vVhitney 1u eum of American Art, New York City (February i4 - March i4, i964), and the Museum of Fine Art , Bo ton (December io, i963 I - Januar 12, i964). This exhibit will pro ide the nucleu of the book: Maine - Its Role in American Art, which will be published by Viking Pre coincident with the spring opening. text - divided into historical periods - will emphasize both the tyles of the times and the relation of art works to the tate's ocial and cultural heritage. The contributing authors (al o li ted on inside front cover) are specialists in these particular periods. In addition to the text, the book will have some 96 pages of monochrome reproductions and twenty full color plates. Subtending both book and exhibition is the establish­ ment of the Archives of Maine Art. Designed as a I center for the preservation of documents and art works, the Archives now maintains a growing collec­ tion of color slides, and artists' personal data and effects; including papers, letters and diaries. Though two generations ago considerable collecting and publication of historical material was undertaken in Maine, no comparable effort has ever been devoted specifically to art. 4 THE COLBY ALUMNUS vVith the opening of new galleries in museums - and more are expected to open in the next few year a - the need of . central site for an archives has be­ come almost mandatory if an historical record is to be maintained. Location of this research material at Colby will be a boon to those institutions who must now seek out, with varying degrees of difficulty and frustration, data relating to the region's art re­ quired for study or for exhibition. Some of the paintings and sculpture reproduced in these pages will be in the Art in Maine exhibition; some will appear in the book. This illustrated essay is intended to give a flavor of this sesquicentennial project rather than to act as an exact catalogue. The Alumnus, in future issues, will preview the exhibition, illustrating insofar as possible the works of art to be included. JO ATHA FISHER, A morning view of Bluehill vil- lage (1824) collection of Roland Howard FALL, 1962 5 SARAH ORNE JEWETT a r vz w by M RY ELLE I CHAE IT' Q ITE A ET ard ar ' Ludenl , graduate or undergraduate, ' of be urpri ed to read on the jacket of hi ne' book tlJ the book he won a m.a 110 cum Laude with hi .B. degree. will an of hi ollea ue in the teaching of Engli h by olb or el e' here (if the are onl fortunate enou to kno' him ) be in the least urpri ed. We all r ognize hi worth. And all, whether tudent or lea ue , v.rill mo t urel onfer upon him a si11m cum laude for hi wholl admirable ne" book arah rne Jewett, the igth in a erie on Uni tate author , publi hed b Twa ne of New Y Cit and edited b S lvia Bowman of Indiana ver it . He ha done a fir t-cla piece of work. L bring out the orchid and the laurel wreaths! Or haps a prig of fre h Maine ba berry would be e more welcome both to him and to Mi s Jewett! Co RICHARD College, the tate of Maine, New England, and United State of America ought to be va.Stl prou CARY him and of hi book. For it i an honour confe upon u all. 6 k, moreo er, needed to be written. Former praises of other well-known writers, most of whom bi r < n cnu of arah Orne Jewett and of were also her friends; Henr James, William Dean , nd at their be t, incomparable Ii terary Howells, James Russell Lowell, v\Tilla Cather, Rud- a hi ,. m nt have all been un ati factory becau e they ard Kipling, Van Wyck Brooks. ha\' been ant and paring. Richard Cary has done To say that any book is definitive is to suggest that all tho e thing which the ought to have done, but no other on the same subject is,or will be needed. Yet ju t didn't do. He ha been painstaking and thorough, the temptation is surely to say just that about Professor "herea they were only kimpy, exhaustive where they Cary's presentation of Sarah Orne Jewett. For his were but uperficial. He has tudied with utmost care close scrutiny is so detailed, his analyses so complete, ever')1thin which he wrote, the mediocre together his range so unbounded, that his subject seems at last with the magnificent. Now we can truly see her as she to have received that full and final treatment which wa fumbling in uncongenial fields, rising to her she has for half a century and more richly deserved. highe t tature - and er high it was! - in the short torie , A White Heron and Miss Tempy's Watchers, And what about the author himself? Not the great to name but two of her best, and in her inimitable lady about whom he writes, but him, the Colby pro­ ma terpiece The Country of the Pointed Firs.
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