ART Issue 2012 Artist Listing

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April 2012 The ART Issue 2012 Artist Listing SHOW STOPPERS The Portland Museum of Art, the Farnsworth Art Museum, the Center for Maine Contemporary Art, and numerous other art institutions and galleries are preparing exhibitions for the latest crop of work by Maine artists. Here is your first look. BY SUSAN GRISANTI MH+D APRIL 2012 73 JACOB BOND HESSLER “Breakwater was taken on a visit home to Maine. I captured this famous Rockland landmark in a stark and minimal way, finding the simplicity in scale. It strips away the complexity and noise of the world to reveal the tranquility that is often lost in the turbulence of modern life.” UPCOMING SHOW: Dowling Walsh Gallery, October 5–November 2 Breakwater, Rockland, Maine, 2009, FOR MORE: c-print on aluminum, 40” x 60” jacobhessler.com; Dowling Walsh Gallery CONNIE HAYES “My figurative work builds on my inventive use of color, which I have developed through painting landscapes and interiors. Children create highly intimate spaces as they play, eat, and read. I am excited to explore in depth the complexity of the figure within these spaces and the insight it provides.” UPCOMING SHOW: Abandon, Absorption, and Entrancement, Dowling Walsh Gallery, July Going Out, 2012, oil on canvas, FOR MORE: 30” x 40” conniehayes.com, Dowling Walsh Gallery, George Marshall Store Gallery JAMIE WYETH “As a child I dreamed of living completely surrounded by the sea. I longed for the gull cries, bell-buoy chimes, foghorn moans, and the constant pulse of the waves. When I purchased Kent House on Monhegan, my dream came true—I could dwell on an island in a house built by Rockwell Kent who, in my estimation, best understood the sea.” UPCOMING SHOW: Jamie Wyeth, Rockwell Kent, and Monhegan, Farnsworth Art Museum, Jenny Whibley Sings, 2008, oil on board, May 12–December 30 25.5” x 35.5” FOR MORE: jamiewyeth.com 86 APRIL 2012 MH+D.

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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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READ ME FIRST Here Are Some Tips on How to Best Navigate, find and Read the Articles You Want in This Issue
READ ME FIRST Here are some tips on how to best navigate, find and read the articles you want in this issue. Down the side of your screen you will see thumbnails of all the pages in this issue. Click on any of the pages and you’ll see a full-size enlargement of the double page spread. Contents Page The Table of Contents has the links to the opening pages of all the articles in this issue. Click on any of the articles listed on the Contents Page and it will take you directly to the opening spread of that article. Click on the ‘down’ arrow on the bottom right of your screen to see all the following spreads. You can return to the Contents Page by clicking on the link at the bottom of the left hand page of each spread. Direct links to the websites you want All the websites mentioned in the magazine are linked. Roll over and click any website address and it will take you directly to the gallery’s website. Keep and fi le the issues on your desktop All the issue downloads are labeled with the issue number and current date. Once you have downloaded the issue you’ll be able to keep it and refer back to all the articles. Print out any article or Advertisement Print out any part of the magazine but only in low resolution. Subscriber Security We value your business and understand you have paid money to receive the virtual magazine as part of your subscription. Consequently only you can access the content of any issue.
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Nga-Bulletin-Spring-2015-Wyeth.Pdf
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.
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The Farnsworth Art Museum's Campaign Case for Support
Building Tomorrow’s Farnsworth Art, Innovation and Promise A view of the Farnsworth Art Museum and the Wyeth Center from Main Street, Rockland “I joined this campaign for one reason – to ensure this Museum is able to invest in its foundation, plan for the future, and elevate its programs and collection to a new level of prominence.” - Gerald A. Isom, Co-Chair of the Building Tomorrow’s Farnsworth campaign Share the Wonder, the Farnsworth’s biggest annual community event We believe that art can transform people’s Farnsworth, you are welcomed by paintings, lives as it has our own. That belief drives drawings, sculptures, photographs, and so our commitment at the Farnsworth to create much more. We are proud of the museum’s powerful experiences through our collections, outstanding collection of works by American exhibitions, and programs that invite artists and the spacious galleries in which we discussion, reflection, and discovery. showcase them, as well as our beloved historic sites – the Homestead which preserves the Lucy Farnsworth chose to honor her father history of the Farnsworth family and life in by using her estate to establish the William Rockland in the 19th century, and the Olson A. Farnsworth Library and Art Museum. House where Andrew Wyeth created iconic The museum opened in 1948, launching a works capturing the lives of his friends and dynamic institution that has embraced a far neighbors in Cushing, Maine. With a wide broader mission “to Celebrate Maine’s Role in range of enriching programs, the museum American Art.” invites adults and children alike to deepen their understanding of Maine’s role in the When you walk through the doors of the history and development of American art.
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Selected Chronology of James Wyeth
SELECTED CHRONOLOGY OF JAMES WYETH 1946 Paints portraits of New York City Ballet 6 July. James Browning Wyeth born in founder and family friend, Lincoln Kirstein. Wilmington, Delaware to Andrew Newell Meets other artists with whom he will later Wyeth (b.1917) and Betsy James Wyeth (b. work, including Andy Warhol. 1921). James, known as Jamie, has one Completes: Portrait of Lincoln Kirstein brother, Nicholas (b. 1943). (National Portrait Gallery, gift of Lincoln Kirstein), Draft Age (Brandywine River 1959 Museum). Leaves school in seventh grade, against the wishes of the Pennsylvania School Board, to 1966 devote himself to painting. He is tutored in First one-man show, James Wyeth academic subjects in the mornings and Paintings, Knoedler Gallery, New York spends afternoons in formal study of City. (Lincoln Kirstein writes foreword to drawing with Carolyn Wyeth, his aunt. exhibition catalogue.) Declines commission from Kennedy family 1961 for portrait of President John F. Kennedy. Completes first oil of a friend, Jimmy Decides to complete portrait on his own. Lynch, The Soldier (Stuart Kingston Befriends Jacqueline and other members of Galleries, Delaware). Works primarily on family. Sketches brothers, Robert and watercolor landscapes of Brandywine Valley Edward, as reference for final portrait. and Maine, where family spends summers. Completes: Portrait of Jeffrey (private Completes: Luke (private collection). collection), The Squall (private collection), Portrait of Governor Charles L. Terry, Jr. 1963 (Bureau of Museums, State of Delaware - Explores portraiture in oil. completed as part of his duty for Delaware First acquisition by a museum, The Capstan, Air National Guard), Bronze Age 1963, (Farnsworth Art Museum).
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Wyeth Christina’S World
WYETH CHRISTINA’S WORLD LAURA HOPTMAN THE MUSEUM OF MODERN ART, NEW YORK Andrew Wyeth (American, 1917–2009). Christina’s World. 1948. Tempera on panel, 321⁄4 x 473⁄4" (81.9 x 121.3 cm). The Museum of Modern Art, New York. Purchase, 1949 2 3 When asked by a journalist in 1977 to name the most underrated and Christina’s World is a modest-sized genre scene, painted in high detail with overrated artists in the history of art, the art historian Robert Rosenblum chose egg tempera on board. Set in the stark, barren landscape of coastal Maine, it to submit one name for both categories: Andrew Wyeth.1 Wyeth, an American depicts a young woman seen from behind, wearing a pink dress and lying in a realist painter whose life and career spanned the better part of the twentieth mown field. Although she reclines gracefully, her upper torso, propped on her century, produced in 1948 one of the most iconic paintings in American art, a arms, is strangely alert; her silhouette is tense, almost frozen, giving the impres- desolate Maine landscape with a single figure called Christina’s World. This paint- sion that she is fixed to the ground [fig. 3]. Stock-still she stares, perhaps with ing, acquired by The Museum of Modern Art in 1949, would become one of the longing, perhaps with fear, at a distant farmhouse and a group of outbuildings, most recognizable images in the history of American art, along with James ancient and grayed to harmonize with the dry grass and overcast sky.
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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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Andrew Wyeth: Looking Out, Looking in PDF Book
ANDREW WYETH: LOOKING OUT, LOOKING IN PDF, EPUB, EBOOK Nancy K. Anderson,Charles Brock | 212 pages | 31 May 2014 | Distributed Art Publishers | 9781938922190 | English | New York, United States Andrew Wyeth: Looking out, Looking in PDF Book No question, the number of objections to judging a museum such as the National Gallery of Art by 20th-century standards for inclusivity outstrips the number of exhibitions by artists other than white men. Wyeth and Mr. The exhibition will be organized into thematic sections that group related preliminary drawings and watercolors with final tempera paintings, offering the clearest understanding of Wyeth's creative process. Bird in the House , watercolor on paper, Wyeth, and their respective uses of windows. Classicists write off Coltrane as inferior to Beethoven, and the same argument holds for modern art versus the old masters. Chester County , drybrush and watercolor on paper He is instructed by private tutors, older relatives, and personal exploration in a family that prizes imagination and creativity. In the decades to come he would accept 24 more doctorates. Newer Post Older Post Home. Andrew Wyeth in the studio, c. Joyce Hill Stoner. Richard Meryman began an enduring friendship with Andrew Wyeth — while on the job as There will always be reasons for the National Gallery to favor exhibitions by white men from Europe and America. Javascript is not enabled in your browser. Anderson ends her essay with a discussion of the impact on Wyeth of the death of his father, illustrator N. Andrew Wyeth — Photo by J. The view of Christina Olson at her farm is representational, yet manipulated.
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Farnsworth Art Museum Arts in Education Program
Farnsworth Art Museum Arts in Education Program Artist Biography: Andrew Newell Wyeth Wyeth, Andrew, "Her Room," 1963, 64.1313 ANDREW NEWELL WYETH was born in Chadds Ford, Pennsylvania, on July 12, 1917, a son of the internationally renowned painter and illustrator N.C. Wyeth and his wife Carolyn Bockius Wyeth. Theirs was a creative family: Henriette Wyeth Hurd, Carolyn Wyeth and Andrew were painters; Ann Wyeth McCoy was a composer; and son Nathaniel was an engineer and inventor with many patents to his credit. At age 15, Wyeth began his artistic training in his father's studio. In that year, on one of his boyhood walks, he discovered the Chadds Ford farm of Karl and Anna Kuerner. Wyeth was intrigued by Kuerner, a German immigrant and World War I veteran, developing a close relationship with him over the years. Wyeth has found subjects in the Kuerner farm's people, animals, buildings and landscapes for hundreds of works of art over more than 75 years. Belanger, Pamela J. Maine in America: American Art at The Farnsworth Museum, University Press of New England, 2000 Farnsworth Art Museum Arts in Education Program The Wyeth family spent summer months in Maine, and Andrew Wyeth's early watercolor landscapes, much influenced by the work of Winslow Homer met with enormous critical acclaim at his first oneman show at the William Macbeth Gallery in New York City in 1937. An exceedingly selfcritical artist, this immediate success did not reassure him. Feeling that his work was too facile, he returned to his father's studio for further concentration on technique.
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Andrew Wyeth Studio and Kuerner Farm NHL Nomination
NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 ANDREW WYETH STUDIO AND KUERNER FARM Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ____ nomination ____ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ____ meets ____ does not meet the National Register Criteria. Signature of Certifying Official Date State or Federal Agency and Bureau In my opinion, the property ____ meets ____ does not meet the National Register criteria. Signature of Commenting or Other Official Date State or Federal Agency and Bureau 5. NATIONAL PARK SERVICE CERTIFICATION I hereby certify that this property is: ___ Entered in the National Register ___ Determined eligible for the National Register ___ Determined not eligible for the National Register ___ Removed from the National Register ___ Other (explain): Signature of Keeper Date of Action NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 ANDREW WYETH STUDIO AND KUERNER FARM Page 3 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 6. FUNCTION OR USE Historic: Domestic Sub: single dwelling (Kuerner Farmhouse/Andrew Wyeth Studio) Agriculture animal facility (Kuerner Barn) Recreation and Culture artist studio (Andrew Wyeth Studio) Current: Recreation and Culture Sub: museum (Kuerner Farmhouse/Andrew Wyeth Studio) 7.
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Oct 19 2017 – Jan 15 2018
OCT 19 2017 – JAN 15 2018 Image: The Drifter, 1964, Andrew Wyeth, 1917–2009, drybrush watercolor on paper, 22 ½ x 28 ½ in., Collection of Phyllis and Jamie Wyeth, © 2017 Andrew Wyeth / Artist Rights Society (ARS) PRESS Press Contact Rachel Eggers Manager of Public Relations [email protected] RELEASE 206.654.3151 AUGUST 8, 2017 ANDREW WYETH: IN RETROSPECT OPENS AT SEATTLE ART MUSEUM OCTOBER 19 Major exhibition presents radical reimagining of one of the 20th century’s most complicated artists SEATTLE, WA – The Seattle Art Museum presents Andrew Wyeth: In Retrospect (October 19, 2017–January 15, 2018), exploring groundbreaking perspectives on the art and legacy of the American painter’s 75-year career. Organized by the Seattle Art Museum with the Brandywine River Museum of Art for the 100th anniversary of the artist’s birth, the exhibition brings together 110 paintings and drawings ranging from the late 1930s to 2008, including rarely seen loans from the Wyeth family. In Retrospect reflects on Wyeth’s work through the historical lens of a century in which he deviated from the American art mainstream but continued to figure prominently in much of the country’s artistic discourse. ABOUT THE EXHIBITION In Retrospect opens with a gallery of significant works introducing the cast of characters from Wyeth’s world who feature in some of his most famous portraits, such as Christina Olson of Maine and Karl Kuerner, his neighbor in Chadds Ford, Pennsylvania. These dream-like works complicate long-held critical notions of Wyeth as an out-of-step realist, revealing how he imbued images of the places, people, and things around him with his own mysterious temperament.
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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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