The Muse Newsletter of the Slater Memorial Museum Spring 2011

The Unsung Associate Director

Recently, we have been recognizing the High School. She then came to the Norwich remarkable professionals who came before us Art School for three years as a post-graduate, in leading both the Slater Memorial Museum scholarship student. Her scholarship covered and its spawn, the Norwich Art School. While the $35 needed to pay the tuition. While in the staff of the Slater Museum has been, the art school, she volunteered at the Slater as traditionally, lean, from time to time, through an assistant to then director, Hannah Dodge special funding or reconfiguring positions, and served as an instructor in the renowned there has been an assistant or associate Saturday Morning Children’s Art Class from director. Such was the case with Dorothy 1933 to 1934. Tredennick of Berea, , who died at the age of 96 on February 9, 2011. As the depression showed its full force, the Works Progress Administration took effect Dorothy Tredennick was born in 1914 in and Dorothy’s position as Associate Director Bristol, Connecticut, where she graduated from became a paid staff assignment as part of the Connecticut State Department of Education, Department of Loan Exhibitions. In this capacity, from 1934 to 1939, she developed traveling exhibitions from the museum’s holdings to go into NFA classrooms as well as to those in the rural and urban elementary schools in the surrounding towns.

Ms. Tredennick also catalogued the Asian art of the Emily Vanderpoel collection, creating a hand guide that was reproduced in the Academy Press, then an artisanal program of NFA dedicated to the craft of fine printing. Emily Noyes Vanderpoel (1842-1939) was Dorothy Tredennick (Continued on page 3) A Message from the Director Ah!, Spring, at long last. While I know it’s dangerous to enjoy too much the current season, especially in New England, it’s a joy nonetheless to know that any snow now couldn’t last long on the ground. Nor could it slow construction on the Slater Museum’s grand project. In fact, those in charge of our Accessibility Atrium project tell me that whatever time was lost due to “winter conditions” will be recovered from now to completion this fall. Among the items to be checked off the list, is our new office suite on the “Upper Mezzanine.” Finally, the banging, crashing and dust is below us as the crew demolishes our old offices to accommodate our new visitors’ center. It is in this roughly 800 square foot space that visitors will enter, whether from the new Atrium or via the old original stairs, and pay admission. In addition, and very exciting, the space will house our new museum shop sponsored by the Friends of Slater through a vote by its board of Directors. In another encouraging action by the Friends board, they voted to sponsor the re-finishing of the wooden Cast Gallery floor. Thank you to the Board and all you generous members who have remained faithful during our “transition” period! UPCOMING EXHIBITIONS, PROGRAMS AND EVENTS Sunday, April 10, 2011 Friends of Slater Museum Annual Brunch. Presentation 11:00 am on new exhibits at the museum to open in the Fall. Please call 860-425-5561 for reservation information. Sunday, May 1, 2011 Opening of the Lincoln Portrait Project at the Norwich 2:00 pm - 4:00 pm Arts Center, Norwich, Connecticut. More information will be posted at www.norwicharts.org.

The Muse is published up to four times yearly for the members of The Friends of the Slater Memorial Museum. The museum is located at 108 Crescent Street, Norwich, CT 06360. It is part of The Norwich Free Academy, 305 Broadway, Norwich, CT 06360. Museum main telephone number: (860) 887-2506. Visit us on the web at www.slatermuseum.org. Museum Director – Vivian F. Zoë Newsletter editor – Geoff Serra Contributing authors: Vivian Zoë, Leigh Thomas and Patricia Flahive Photographers: Leigh Thomas, Vivian Zoë

The president of the Friends of the Slater Memorial Museum: Patricia Flahive

The Norwich Free Academy Board of Trustees: Steven L. Bokoff ’72, Jeremy D. Booty ‘74 Glenn T. Carberry Richard DesRoches * Lee-Ann Gomes ‘82, Treasurer Thomas M. Griffin ‘70, Secretary Thomas Hammond ‘75 Theodore N. Phillips ’74 Vice Chair Robert A. Staley ’68 David A. Whitehead ’78, Chair Sarette Williams ‘78 *Museum collections committee

The Norwich Free Academy does not discriminate in its educational programs, services or employment on the basis of race, religion, gender, national origin, color, handicapping condition, age, marital status or sexual orientation. This is in accordance with Title VI, Title VII, Title IX and other civil rights or discrimination issues; Section 504 of the Rehabilitation Act of 1973 as amended and the Americans with Disabilities Act of 1991. 2 (Continued from page 1) of fine Asian ceramics, textiles and fine art has increased the value of her collection to the Slater Museum, both intrinsically and extrinsically. Mrs. Vanderpoel donated the collection a few years before her death, when Mrs. Dodge was hitting her stride as director and curator and when the eager and brilliant Dorothy Tredennick would have been at the Slater to assist.

To have been entrusted with the assignment Mrs. Vanderpoel’s former residence, the historic of creating the Vanderpoel catalogue is a Tallmadge House in Litchfield. reflection of the recognition by Mrs. Dodge born Emily Caroline Noyes in New York of Dorothy’s intellect, talent and promise. City on June 21, 1842. She married John The Slater Museum still has copies of Aaron Vanderpoel on May 22, 1865. As a the catalogue, as well as numerous other resident of Litchfield, Connecticut, she was materials printed by the Academy Press. an active member and first curator of the Mrs. Dodge’s predecessor, Henry Watson Litchfield Historical Society and a member Kent, a bibliophile, had many invitations of the Daughters of the American Revolution. and exhibition brochures reproduced by the She was an author and painter. Included in Academy Press, the quality of which was her writing was a two-volume history of the always the highest. Litchfield Female Academy, Chronicles of a Pioneer School and More Chronicles of a Arriving as a non traditional student at Berea Pioneer School. Mrs. Vanderpoel died at the College in 1943, Ms. Tredennick initially age of 96 on Feb. 20, 1939 and is buried in studied history and political science. After East Cemetery in Litchfield. graduating in 1946, she obtained a Masters in Art from the University of Michigan with Mrs. Dodge had strong similarities to Emily a specialization in Asian Art History. She Vanderpoel. They both moved from the large and cosmopolitan city of their birth to Connecticut as young married women. Their strong intellects led them into scholarly and academic pursuits. According to institutional mythology, Mrs. Vanderpoel had first offered her vast collection of “Oriental Art”, as it was then known to the Museum (and perhaps other New York City museums). At that time, when golden age of sail and the ubiquity among the wealthy of the Grand Tour were coming to a close, collections like Mrs. Vanderpoel’s were not so rare. Although the collection may have been viewed at that time by the major institutions as somewhat below their standards or duplicative, the passage Hand-painted porcelain plate made at Kutani, c. of time and lessening of the personal import 1840. From the Vanderpoel Collection of Asian Art at the Slater Museum. 3 those expelled lived in or nearby northern towns for several years, returning permanently after the war.

Starting in 1864, during the Civil War, John Fee applied his energies to improving conditions for former slaves who had volunteered for the at Camp nelson. Beginning with preaching, he soon saw that there were pressing needs for them and their families. The first building Fee helped arrange construction of facilities to support them and their families at the returned to Berea in 1954 to teach art, but camp, including housing, a hospital, church her courses retained a historical and political and school. After the war, African-American emphasis. families came to Berea to take part in its education and interracial vision. For years it A professor at Berea College for 41 years, included instruction in preparatory grades for she was known for her work as an art college. historian, an inspiring teacher and her life- long commitment to peace and justice. She In the 1890s, as part of a general heritage received her bachelor’s degree from Berea movement in the US, there was a growing College in 1946 and her master’s degree national interest in the culture and traditions from the University of Michigan in 1951. of by writers, academics, missionaries, and teachers. A renewed interest In 1850 the area now known as Berea was in traditional crafts was in part a reaction to called the Glade, a community of scattered continuing urbanization and industrialization. farms with a racetrack and citizens sympathetic Fascinated by the rich culture of Appalachia to emancipation. In 1853, rich and politically and dismayed by the region’s isolation and ambitious Cassius Marcellus Clay gave Reverend John Gregg Fee a free tract of land in the Glade. With local supporters and other abolitionist missionaries from the American Missionary Association, Fee established two churches (First Christian Church and Union Church), a tiny village and Berea College. Fee named Berea after a biblical town (today known as Veria) where the people “received the Word with all readiness of mind.”

Founded in 1855, Berea College was the only integrated and coeducational college in the South for nearly forty years, modeled it on in , and hoped it would become an academic beacon of the North. Pro-slavery supporters expelled Fee and his followers from Berea in 1859, in the A traditional coverlet, c. 1875, similar to one given aftermath of John Brown’s Raid. Most of to Berea College as tuition payment. 4 poverty, donors to Berea College were enthusiastic about the quality of traditional coverlets brought by students in exchange for tuition.

College President William Frost (1893– 1920) took many such coverlets with him on fund-raising trips North. The college had maintained contacts with abolitionist groups in and other Northern cities which had supported it from its earliest days. Frost, perceiving a national market for traditional crafts, established the first Berea Connecticut Hills, woodblock print by Dorothy College Fireside Industries and encouraged Tredennick craftspeople to move to Berea. The college gallery in the Traylor building named in her built a loom house and hired a supervisor to honor were a large contingent of faculty, train and maintain the quality of student work. former students, and friends. The Mayor The first supervisor of weaving was Jennie of Berea officially declared October 2, 2004 Lester Hill. She was succeeded in 1911 by “Dorothy Tredennick Day.” Dorothy was a Anna Ernberg, a weaver who at Berea taught Seabury Award winner in 1962, a Fulbright several influential figures in the American award winner in 1963, honored among several Handweaving Revival. Today, Berea Outstanding Scholars in America in 71’ and 72’ maintains its support for traditional arts and and Phi Kappa Phi Professor of the Year in 87’. crafts. The recently built Kentucky Artisan Center, presents a wide variety of works by Tredennick’s reach also extended far beyond Kentucky artisans. In 1922, David Carroll Berea’s artistic community. Along with two Churchill founded Churchill Weavers, which other faculty members, Tredennick created produced handwoven goods until 2007. and taught a general studies course titled “Humanities” in the 1950s, influencing the From 1954 – 1970, Dorothy Tredennick co- lives of many. Spanning three decades, the chaired the Berea College Art Department. full year course incorporated art, music and She received the Seabury Award for literature. Upon the occasion of her 90th Excellence in Teaching, Berea’s highest birthday celebration, Art Department Chair, faculty honor, in 1962, and was named the Dr. Robert Boyce, stated that Tredennick’s Morris Belknap Professor of Art in 1970. course was possibly “the best known class Belknap of Louisville graduated from the taught at Berea.” Dr. Libby Jones commented Sheffield Scientific School at Yale in 1877. A at that time, “She has taught me much about mechanical engineer, he joined his father in creativity, spirituality, teaching, listening, manufacturing farm implements. He served and learning and has shown me ways to as president of the Louisville Board of Trade, live well my one wild and precious life”. and in 1903 was the Republican candidate for Governor of Kentucky. She was recognized by A newsletter published by Union Church the Berea Arts Council and the city of Berea interviewed her in retirement. The piece in 2004 for her many years of dedication to includes her reminiscence that on “Saturdays, Berea College and its community. Among her home, [which she designed herself] … those present at the opening of a new student was open for students to ‘unwind and relax’

5 an area business, successfully reversing its policy of refusing service to Black patrons.

Each year, the Berea College art department sponsors a 4-day museum trip. As a member of the art department for many years, Dorothy Tredennick vigorously professed the value of travel as a component of learning. Through her continued generosity and special fund, the cost to students for each trip is minimal. For over 13 years, the Berea College Art Norwich Hills, watercolor by Dorothy Tredennick Department has sponsored these yearly and, in today’s vernacular - ‘hang out.’ It was museum trips which have taken students to a time of fun and interaction.” As a reflection New York, Chicago, and Washington D.C. of the student’s affection for Dorothy, and of her independence and ease in rural life, they Other accolades, awards, and achievements presented her with and the gift of an axe, the include numerous grants for teaching or better to chop her cord wood. Together with study abroad from the Fulbright Foundation, Julia Allen, she camped out while traveling Danforth Foundation and China International across the United States. Foundation; Outstanding Scholars in America; Lecturer at Tunghai University She studied and traveled extensively in Europe and Tainan Theological Seminary in Taiwan; and Asia and was a pioneer in incorporating and an appointment as resident fellow at travel into education, stating that she felt the Institute for Ecumenical and Cultural visiting areas that have produced marvelous Research in Collegeville, Minnesota, part art was a “professional obligation.” She led of St. John’s University and Benedictine groups throughout Europe to study art long Abbey. She served as a curriculum before other popular exchange programs consultant to other institutions, including existed. Even after her retirement, Tredennick West Virginia Wesleyan, West Virginia contributed monetarily to annual trips for Wesleyan in Japan, and Roanoke College. students to prominent national museums in New York, Chicago, and Washington DC. She was a member of the American Association of University Women; American Association As a writer on art, Dorothy focused on the of University Professors; Phi Kappa Phi; philosophy of art and its relationship to various Asian Studies Association; Pi Gamma aspects of life. Publications included Beliefs Mu; College Art Association; Southern Take Shape, Art and The Protestant Church Humanities Conference; Association of Today; Living By Design; THIS IS OUR General and Liberal Studies; and Kentucky BEST, Mountain Life and Work; Kress Study Guild of Artists and Craftsmen. For the Collection; Design for Living; and Two Worlds Berea Arts Council she conducted lectures Meet: The Religious Dimensions of Art; and, of and workshops in watercolor painting and course, the Vanderpoel Collection Catalogue. Japanese brush painting. She also conducted twice monthly classes in creative expression In the early 1950’s, Dorothy, along with Julia at Berea Health Care Center. As recently as Allen, her college’s dean of women, joined 2001, she was still teaching Chinese brush African Americans in Berea in a sit in at painting for Northern Kentucky University’s adult education program. 6 Construction Update: Atrium Takes Shape and Museum is Refreshed

Despite a heavy winter and the uncovering of surprises typical of a project such as ours, progress can be seen in both the new structure and in the museum itself. Through a gener- ous gift from the Friends of Slater Museum, the original Douglas Fir floor of the Cast Gal- lery has been restored to its gleaming glory. Gone is the 1970’s “sculpted” yellow broad- loom carpet. Ancient varnish, plus more than a century of layer upon layer of wax had dark- ened the wood floor to near black. The brittle finish also was extremely easy to scratch and bruise. After three sandings and four coats of a new, water-based polyurethane “varnish,” the floor is now a bright, blond color that is reflecting light upon the casts. This will make the Cast Gallery much more inviting and enjoyable.

The administrative offices, formerly near the entrance doors to the museum have been moved one floor up in a renovated space un- til recently the African Gallery. The old of- fice space will be transformed into a visitors’ center complete with new museum shop. In addition to books, cards, posters and other reproductions, the shop will feature fine and decorative art and jewelry made by local ar- tisans. An array of miniature casts reflecting the Slater’s collection will also be available.

The stairs and lavatories in Converse have been removed and new openings cut for ac- cess to and from the Atrium. A bright, light floor “plug” has been built to allow more floor space in the gallery where once there was a stairwell. The removal of the stairs has also allowed for one more small classroom on the first floor of the Converse building.

Construction images (from top to bottom): The pereimeter of the Cast Gallery is sanded, the Converse Art Gallery after the removal of the stairs, Windows on the northwest corner of the Cast Gallery will be replaced with entry doors, the former Zimmerman Gallery of African Art undergoing conversion to museum offices.

7 THE LINCOLN PORTRAIT PROJECT MAY 1 - MAY 31, 2011 OPENING RECEPTION AND AWARD CEREMONY Sunday, May 1 2:00 - 4:00 pm. Norwich Arts Center 60 Broadway / Norwich, CT 06360 860-887-2789 Please join us for the opening of the Lincoln Portrait Project, an exhibition showcasing works submitted for consideration to the Lincoln Portrait Copy Competition.

The reception will include an award ceremony in which the winning artist will be announced to receive an $8,000 purchase prize from the City of Norwich. The reception is free and open to the public.

CHANGE SERVICE REQUESTED