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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. part of its exhibits. It is open to the public during the summer Christina’s face looks away from the viewer and her age is months. indeterminate. Her relationship to the building is also open to interpretation. Art critic and Wyeth biographer Richard Find her at MOMA in Manhattan Meryman wrote, “Struggle and hope mix with malevolence. The painting immediately garnered both critical acclaim It is a disturbing picture, romantic at first glance, ultimately and popular appeal. It was honored at the Carnegie Exhibition eerie.” 1p6 in 1948 and shortly thereafter purchased by the Museum of Modern Art in New York City, where it remains on display. A cripple, never leaving home A feature article in Time magazine at that time focused on Christina Olson (1893–1968) lived her entire life in the both the artist and the painting.2 The painting’s popularity farmhouse depicted in the painting in the small coastal was related in part to its unique imagery, an icon to many of community of Cushing, Maine. She had a never- diagnosed the plight of the disabled, a continuing association evidenced progressive crippling disorder, apparent from childhood, and by a new ballet, Christina Olson: American Model by Tamar gradually lost the ability to walk by age fifty, a few years before Rogoff, performed in New York in 2005. It depicted the sub- Christina’s World was painted in 1948. The painting’s original ject’s rebellion against the “muscular deterioration that even- concept arose when, from his studio window, Wyeth observed tually paralyzed her body.” 3 Smithsonian magazine recently Christina crawling in the field to pick blueberries and care for stated: “At age 31, Wyeth had . created an icon—a work her parents’ grave. that registers as an emotional and cultural reference point in The Pharos/Summer 2007 5 Christina’s World the minds of millions.” 4 Wyeth Christina Olson, 1894. denied that his object was to Courtesy of the Wyeth Family Archives. depict Christina’s disability, stating “I honestly did not pick her out to do because tions and recollections she was a cripple. It was of those who observed the dignity of Christina her. Of note, Andrew Olson. The dignity of Wyeth used his this lady.” 1p13 twenty-six-year-old When I first saw wife Betsy as the the painting as a mid- model for Christina’s dle school student, World, so the paint- even though I had no ing should be viewed personal experience as a perception rather with disabled people, than a reproduction I was struck with the of Christina’s anatomi- limitations imposed by cal features. It there- her apparent physical fore cannot be used as and geographic isolation. a surrogate for a physi- Equally impressive was the cal exam. Christina never bravery and effort required saw the painting until its to travel into the surrounding completion.1 The possible fields in an attempt to expand processes leading to her dis- her horizons. ability appear to be a disorder A recent tour of the Olson farm- affecting either the joints, muscles, house reinforced these feelings and or nerves. The initial step in attempt- raised questions in my mind about her ing to make a diagnosis is to determine medical history and possible diagnosis. The which of these organ systems is the source of publication of a biography of Christina Olson5 the underlying pathophysiology. coauthored by her niece, Jean Olson Brooks, my subsequent Christina was the first of four children born to Katie interviews with Ms. Brooks, and the opportunity to review Hathorn Olson, a native of Maine of Yankee-English heritage, family documents and photographs added clues to her medi- and John Olson, a Swedish seaman who met Katie when cal history and gave additional perspective to an understand- his ship was ice-bound in Maine during the winter of 1890. ing of her illness and unique life story. Her experience with Christina was the first child, followed by three brothers, disability and her response to the medical establishment also Alvaro, Samuel, and Fred. By age twenty (1913) she had as- provide lessons applicable to all who care for patients. sumed responsibility for running the household because of her mother’s development of apparent congestive heart failure. What could be her diagnosis? Letters describe anasarca, dyspnea, and orthpnea. Her father Christina’s diagnosis is unknown and, although she is pre- later became crippled with what was almost certainly rheu- sumed by many to have had polio,6 her condition is ascribed matoid arthritis. Although a family photograph in 1920 shows by other sources as being related to “an infection at age 3 him standing upright in apparent good health,4 he shortly leaving her with a damaged spine”;7 cerebral palsy, multiple thereafter developed stiff and swollen joints. At one time sclerosis, rheumatoid arthritis, rickets, or Still’s Disease;8 or he was admitted to the Knox Hospital in Rockland, but was post- polio syndrome, a muscular disorder, or an unknown discharged the next day as “nothing could be done.” His small neurological disease.9 No medical records are known to exist savings were spent over the next few years in a futile search for and, other than a diagnostic admission to a Boston teaching a cure for his arthritis. Upon his death in 1935, Christina had hospital in her early twenties, she avoided physicians during the wheelchair on which he had been dependent for the last her entire life. In addition she never complained or spoke of ten years of his life thrown in the ocean, saying, “I have no use her condition in any way other than to say, “I’m lame, not for that thing.” 5 This gesture was characteristic of her rugged crippled.” Although a prolific letter writer, she did not describe independence and what could be considered to be denial and her condition or symptoms in any of her writings. Therefore frustration in dealing with both her father’s illness and her clues to her diagnosis must be derived from her family photos own condition. The only time she was known to use a wheel- (no motion pictures of her exist), family history, and descrip- chair was in 1967 when she attended an exhibition of Andrew 6 The Pharos/Summer 2007 Olson House, 1900. Courtesy of the Wyeth Family Archives. Wyeth’s paintings at the Farnsworth Art Museum. Her family experience with medical care occurred in March of 1919 when, felt she did this as a favor to the artist. In later years, she was on the prompting of relatives, she was admitted to the Boston assisted by family members who essentially carried her to at- City Hospital. There are no known records of this hospitaliza- tend special events such as town meetings and picnics. tion other than a letter she wrote to her mother after discharge offering a perspective on physicians that is still meaningful: Her brother Alvaro—a strong support By the time of her father’s death, her two younger brothers, Dear Ma, Samuel and Fred, had married and moved out of the house. Well, I’m out of prison again. Not that it hurt me in Alvaro was single and remained in the house with Christina. any way, but I hated the whole thing so much. Of course I After he gave up his work as a fisherman, his dory was stored, was only there for observation so they didn’t give me treat- unused, in the barn. Wyeth painted it in Hay Ledge in 1968, ment of any kind. Just walked in and looked at me once a day emblemizing the closed chapter in Alvaro’s life.10 Christina for about two minutes. One day there were five doctors who was dependent on Alvaro, and he seemed to accept this role. came marching in to my room. I stood up in the middle of When Christina became unable to walk in her fifties, she con- the floor, and they formed a circle around me, stayed about tinued to live independently with Alvaro until the last months a minute and out they went.
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