ARTISTS’ BIOGRAPHIES
CHARLES CURTIS ALLEN (1986-1950)
Mr. Allen was born in Waban, Massachusetts to a prosperous New England family. An American Impressionist, he was influenced by his teachers Philip Hale and Herman Dudley with whom he studied while attending the Worcester Museum of Art School. He later became an instructor in the same school. Specializing in mountain landscapes, he applied rich direct strokes to his paintings of the landscape of Vermont. The taught his technique to artists in many summer courses in Jeffersonville, Vermont. Curtis also painted with Frank Benson and Edmund C. Tarbell in Ogunquit and its locale during the 1920s and 1930s and much of Allen’s work portrayed the seaside town’s local varied landscape.
Curtis was an active member of the national art community being a member in numerous associations including The Boston Society of Watercolor Painters, National Academy of Design, American Watercolor Society, Boston Guild of Artists and the Ogunquit Art Association. His Exhibition history includes shows at the Museum of Fine Arts, Boston Society of Watercolor Painters; The Pennsylvania Academy of Fine Arts.
PEGGY BACON (1895-1987)
Painter, print maker, illustrator, and author, Peggy Bacon was known for her satirical illustrations of daily New York life. She was born in Ridgefield, Connecticut to artist parents, Charles Roswell Bacon and Elizabeth Chase, and spent much of her youth traveling internationally with them, to paint.
She studied at the Art Students League between 1914 and 1920, where she was especially influenced by the realistic prints of her teachers John Sloan and George Bellows. In 1920, she married artist Alexander Brook, whom she had met at the Art Students League, and during the next decade they spent time in Provincetown, Rhode Island and Greenwich Village in New York City and were prominent figures in the Woodstock art colony. During this time she wrote and illustrated various children’s books and satirical book entitled Off with Their Heads, a comical look at thirty-nine well known fellow artists. In the late 1920s, she began to explore lithographs, etchings, and pastel, but dry point remained her favorite medium until the 1950s when she began concentrating on oil painting.
She was financially successful, selling her work well in New York, and she and her husband were part of the group of artists promoted by Gertrude Vanderbilt Whitney. In 1940, she and her husband were divorced, and she continued to paint and also wrote novels. Her 1953 mystery, The Inward Eye, earned the Edgar Allen Poe Mystery Award for best novel of the year.
She lived to age ninety-two, spending the later years of her life at Cape Porpoise, Maine near her son, Alexander.
JOHN BARTOK (1938-2002)
Born in Bridgeport, Connecticut, Mr. Bartok was trained as an engineer before becoming a full time artist. Primarily known for marine pictures, the artist studied art briefly at the Hartford Art School, University of Hartford, Connecticut and was a protégé of the late master marine artist, Wm. C. Ehrig. As a working painter Bartok was primarily associated with the Ogunquit, Maine and Scottsdale, Arizona art communities where he maintained studio galleries.
During his career Bartok was honored by The Richard Milton Memorial Award for marine painting, Jordan Marsh Annual Exhibition of paintings by contemporary marine artists, the Ralph Metzner Award for the marine painting, and most popular in the Ogunquit Art Center 50th Annual Exhibition.
The artist’s work was shown in national shows in the Grand National Exhibition, New York City, Ogunquit Art Center and the Farnsworth Museum in Rockland, Maine. Bartok was a member of several art societies including the American Artist Professional League, Copley Society of Boston, Hudson Valley Art Association, North Shore Arts Association, and the York (Maine) Art Association.
CHARLES CURTIS ALLEN (1986-1950)
Mr. Allen was born in Waban, Massachusetts to a prosperous New England family. An American Impressionist, he was influenced by his teachers Philip Hale and Herman Dudley with whom he studied while attending the Worcester Museum of Art School. He later became an instructor in the same school. Specializing in mountain landscapes, he applied rich direct strokes to his paintings of the landscape of Vermont. The taught his technique to artists in many summer courses in Jeffersonville, Vermont. Curtis also painted with Frank Benson and Edmund C. Tarbell in Ogunquit and its locale during the 1920s and 1930s and much of Allen’s work portrayed the seaside town’s local varied landscape.
Curtis was an active member of the national art community being a member in numerous associations including The Boston Society of Watercolor Painters, National Academy of Design, American Watercolor Society, Boston Guild of Artists and the Ogunquit Art Association. His Exhibition history includes shows at the Museum of Fine Arts, Boston Society of Watercolor Painters; The Pennsylvania Academy of Fine Arts.
PEGGY BACON (1895-1987)
Painter, print maker, illustrator, and author, Peggy Bacon was known for her satirical illustrations of daily New York life. She was born in Ridgefield, Connecticut to artist parents, Charles Roswell Bacon and Elizabeth Chase, and spent much of her youth traveling internationally with them, to paint.
She studied at the Art Students League between 1914 and 1920, where she was especially influenced by the realistic prints of her teachers John Sloan and George Bellows. In 1920, she married artist Alexander Brook, whom she had met at the Art Students League, and during the next decade they spent time in Provincetown, Rhode Island and Greenwich Village in New York City and were prominent figures in the Woodstock art colony. During this time she wrote and illustrated various children’s books and satirical book entitled Off with Their Heads, a comical look at thirty-nine well known fellow artists. In the late 1920s, she began to explore lithographs, etchings, and pastel, but dry point remained her favorite medium until the 1950s when she began concentrating on oil painting.
She was financially successful, selling her work well in New York, and she and her husband were part of the group of artists promoted by Gertrude Vanderbilt Whitney. In 1940, she and her husband were divorced, and she continued to paint and also wrote novels. Her 1953 mystery, The Inward Eye, earned the Edgar Allen Poe Mystery Award for best novel of the year.
She lived to age ninety-two, spending the later years of her life at Cape Porpoise, Maine near her son, Alexander.
JOHN BARTOK (1938-2002)
Born in Bridgeport, Connecticut, Mr. Bartok was trained as an engineer before becoming a full time artist. Primarily known for marine pictures, the artist studied art briefly at the Hartford Art School, University of Hartford, Connecticut and was a protégé of the late master marine artist, Wm. C. Ehrig. As a working painter Bartok was primarily associated with the Ogunquit, Maine and Scottsdale, Arizona art communities where he maintained studio galleries.
During his career Bartok was honored by The Richard Milton Memorial Award for marine painting, Jordan Marsh Annual Exhibition of paintings by contemporary marine artists, the Ralph Metzner Award for the marine painting, and most popular in the Ogunquit Art Center 50th Annual Exhibition.
The artist’s work was shown in national shows in the Grand National Exhibition, New York City, Ogunquit Art Center and the Farnsworth Museum in Rockland, Maine. Bartok was a member of several art societies including the American Artist Professional League, Copley Society of Boston, Hudson Valley Art Association, North Shore Arts Association, and the York (Maine) Art Association.
LEONARD BASKIN (1922-2000)
Born in New Brunswick, New Jersey, Mr. Baskin was one of the twentieth century's greatest sculptors and printmakers. While a young teenage he began studying sculpture in New York City, and as a student at Yale founded Gehenna Press, one of the nation's first and longest surviving fine art presses.
Railing against the Pop Art and Abstract Expressionism trends of his time, Baskin focused on and Jewish tradition and culture. Baskin preferred art that was representative. He was quoted as saying, "Human beings have not changed. No matter how fast we go we still function as physical beings. That is of overwhelming importance to my art—the continuum of human life—that is what makes art sublime."
Baskin's woodcuts, prints, sculptures, and paintings were shown in over 40 exhibitions during his lifetime. His work is also displayed among others in The Art Institute of Chicago, the Library of Congress, National Gallery of Art in Washington, The Vatican Museum, the Metropolitan Museum of Art and the Museum of Modern Art in New York, and the British Museum. Baskin was also a respected educator of sculpture at Smith and Hampshire colleges in Western Massachusetts.
FRANK BENSON (1862-1951)
Born in Salem, Massachusetts, Benson attended the School of the Museum of Fine Arts in Boston. In 1883, the artist traveled to Paris with childhood friend and fellow artist Edmund C. Tarbell where both men continued their studies at the Academie Julian where he obtained an appreciation for Impressionism painting. Returning to the United States, Benson taught at the Portland School of Art and later at the Museum School in Boston with Tarbell.
Benson was accomplished in a variety of media including watercolor, pastel, aquatint and engraving and was a founding member of "The Ten," a group of ten well known American Impressionist painters from New York and Boston who exhibited together for nearly twenty years. Like his French counterparts, Benson frequently painted outdoors to capture the dynamic character of light. In the late 1890s the artist accepted a prestigious commission to work on the decoration of the Library of Congress and completed murals of “Four Seasons” and “Three Graces” for the project.
In 1900, Benson discovered the pleasures of North Haven Island off the coast of Maine, and from that time, he and his family spent every summer there, even purchasing a farm where he had a studio. There his style became increasingly impressionistic.
Midway through his career as a recognized oil painter, he began to paint with watercolors, perhaps inspired by Winslow Homer's use of that medium, to show hunting scenes in the Adirondacks. In 1921, Benson became a serious watercolorist while on a fishing expedition to the Gaspe Peninsula of Quebec, and from that time until his death, he created nearly six-hundred watercolors.
An incredibly successful artist during his long career, Benson’s work is part of many national and international public and private art collections.
LOUIS BERNEKER (1876-1937)
A student at the St. Louis School of Fine Art, Mr. Berneker had further art training was at the Academie Julian in Paris, where from 1903 to 1904, his teacher was Jean Paul Laurens. Berneker was primarily a painter of landscapes, harbors and figurative works but also did etching. Many of his figure paintings were done in the Art Nouveau style that was so popular in America at the turn of the 19th to the 20th century. Other paintings had elements of Impressionism and Social Realism.
With studios both in New York City and Gloucester, Massachusetts, Berneker spent a considerable part of his career painting scenes of Gloucester and Cape Ann. The artist consequently was a member of the North Shore Art Association. Berneker’s work was exhibited in many prestigious art venues including the Pennsylvania Academy, the National Academy of Design and the Art Institute of Chicago.
Born in New Brunswick, New Jersey, Mr. Baskin was one of the twentieth century's greatest sculptors and printmakers. While a young teenage he began studying sculpture in New York City, and as a student at Yale founded Gehenna Press, one of the nation's first and longest surviving fine art presses.
Railing against the Pop Art and Abstract Expressionism trends of his time, Baskin focused on and Jewish tradition and culture. Baskin preferred art that was representative. He was quoted as saying, "Human beings have not changed. No matter how fast we go we still function as physical beings. That is of overwhelming importance to my art—the continuum of human life—that is what makes art sublime."
Baskin's woodcuts, prints, sculptures, and paintings were shown in over 40 exhibitions during his lifetime. His work is also displayed among others in The Art Institute of Chicago, the Library of Congress, National Gallery of Art in Washington, The Vatican Museum, the Metropolitan Museum of Art and the Museum of Modern Art in New York, and the British Museum. Baskin was also a respected educator of sculpture at Smith and Hampshire colleges in Western Massachusetts.
FRANK BENSON (1862-1951)
Born in Salem, Massachusetts, Benson attended the School of the Museum of Fine Arts in Boston. In 1883, the artist traveled to Paris with childhood friend and fellow artist Edmund C. Tarbell where both men continued their studies at the Academie Julian where he obtained an appreciation for Impressionism painting. Returning to the United States, Benson taught at the Portland School of Art and later at the Museum School in Boston with Tarbell.
Benson was accomplished in a variety of media including watercolor, pastel, aquatint and engraving and was a founding member of "The Ten," a group of ten well known American Impressionist painters from New York and Boston who exhibited together for nearly twenty years. Like his French counterparts, Benson frequently painted outdoors to capture the dynamic character of light. In the late 1890s the artist accepted a prestigious commission to work on the decoration of the Library of Congress and completed murals of “Four Seasons” and “Three Graces” for the project.
In 1900, Benson discovered the pleasures of North Haven Island off the coast of Maine, and from that time, he and his family spent every summer there, even purchasing a farm where he had a studio. There his style became increasingly impressionistic.
Midway through his career as a recognized oil painter, he began to paint with watercolors, perhaps inspired by Winslow Homer's use of that medium, to show hunting scenes in the Adirondacks. In 1921, Benson became a serious watercolorist while on a fishing expedition to the Gaspe Peninsula of Quebec, and from that time until his death, he created nearly six-hundred watercolors.
An incredibly successful artist during his long career, Benson’s work is part of many national and international public and private art collections.
LOUIS BERNEKER (1876-1937)
A student at the St. Louis School of Fine Art, Mr. Berneker had further art training was at the Academie Julian in Paris, where from 1903 to 1904, his teacher was Jean Paul Laurens. Berneker was primarily a painter of landscapes, harbors and figurative works but also did etching. Many of his figure paintings were done in the Art Nouveau style that was so popular in America at the turn of the 19th to the 20th century. Other paintings had elements of Impressionism and Social Realism.
With studios both in New York City and Gloucester, Massachusetts, Berneker spent a considerable part of his career painting scenes of Gloucester and Cape Ann. The artist consequently was a member of the North Shore Art Association. Berneker’s work was exhibited in many prestigious art venues including the Pennsylvania Academy, the National Academy of Design and the Art Institute of Chicago.
EDWARD BETTS (1920-2008)
Born and reared in Yonkers, New York, Mr. Betts is regarded as one of the greatest artists of his generation. His paintings have been collected by virtually every major museum in the U.S. and have been widely exhibited internationally. He was a lifetime summer resident of Maine.
A respected professor emeritus from the University of Illinois, Betts's work has constantly garnered critical acclaim. He is the author of several books on techniques in "water media" including noteworthy Master Class in Watercolor.
Throughout his life he painted in two separate styles. His abstract work mostly being shown in New York and his traditional, yet equally complex compositions in watercolor exhibited primarily in Maine.
WILLIAM H.W. BICKNELL (1860-1947)
Born Winchester, Massachusetts, Mr. Bicknell was educated at Boston Museum School of Fine Arts with Otto Grundmann and Frederic Crowinshield. Bicknell throughout his long career was known primarily for landscape painting and for art instruction. As an art activist the artist was a member of the Copley School, Provincetown Area Artists, and the Winchester Area Artists associations. His work was exhibited at the St. Louis Expo in 1904.
Bicknell’s paintings can be found in the collections of the Rochester Memorial Art Gallery; Boston Museum of Fine Arts; New York Public Library; Art Institute of Chicago; Provincetown Art Association and Museum, Provincetown Town Art Collection.
CLAIRE BIGBEE
Ms. Bigbee is an artist and graphic designer living in Wells, Maine. She studied graphic design and painting at Maine College of Art in Portland.
Bigbee takes her inspiration from the grandeur of southern Maine’s varied landscapes and changing seasons. To Claire, coastal views, salt marsh settings, and cows grazing in pastoral fields reflect Maine’s unlimited ranges of color and light. Though she often works en plein aire, Bigbee works intuitively and strives to let her work "arrive at its essence by staying open to the possibilities" that spontaneously emerge while the painting is underway. Whether capturing a moment in time, or reflecting a remarkable spectrum of colors, there is a distinctive energy and harmony in her art.
Bigbee has taken workshops with renowned artists: Anne Packard & Cynthia Packard, Robert Henry & Selina Trieff and Maine artists Stan Moeller, Henry Isaacs and Holly Ready. Her work is shown a great deal locally and in northern New England. Bigbee has been represented by the Van Ward Gallery since 1993.
GEORGE CARPENTER (1928-2006)
Living most of his life in Maine, Mr. Carpenter was an Impressionist-style landscape painter who was known primarily for his work with watercolors and to a lesser extent with oil medium. His work largely depicts maritime and woodland themes.
Carpenter moved to Ogunquit in 1963 and opened his own gallery in Perkins Cove in 1983 where he became part of the historic art community. He was seen painting outside his studio regularly and was a fixture in The Cove until his death. His work reflects a deep love and appreciation for New England and the Maine shore.
Carpenter was a prolific painter and was an active member of the Rockport Art Association. He has been exhibited widely in the U.S., Canada and abroad.
Born and reared in Yonkers, New York, Mr. Betts is regarded as one of the greatest artists of his generation. His paintings have been collected by virtually every major museum in the U.S. and have been widely exhibited internationally. He was a lifetime summer resident of Maine.
A respected professor emeritus from the University of Illinois, Betts's work has constantly garnered critical acclaim. He is the author of several books on techniques in "water media" including noteworthy Master Class in Watercolor.
Throughout his life he painted in two separate styles. His abstract work mostly being shown in New York and his traditional, yet equally complex compositions in watercolor exhibited primarily in Maine.
WILLIAM H.W. BICKNELL (1860-1947)
Born Winchester, Massachusetts, Mr. Bicknell was educated at Boston Museum School of Fine Arts with Otto Grundmann and Frederic Crowinshield. Bicknell throughout his long career was known primarily for landscape painting and for art instruction. As an art activist the artist was a member of the Copley School, Provincetown Area Artists, and the Winchester Area Artists associations. His work was exhibited at the St. Louis Expo in 1904.
Bicknell’s paintings can be found in the collections of the Rochester Memorial Art Gallery; Boston Museum of Fine Arts; New York Public Library; Art Institute of Chicago; Provincetown Art Association and Museum, Provincetown Town Art Collection.
CLAIRE BIGBEE
Ms. Bigbee is an artist and graphic designer living in Wells, Maine. She studied graphic design and painting at Maine College of Art in Portland.
Bigbee takes her inspiration from the grandeur of southern Maine’s varied landscapes and changing seasons. To Claire, coastal views, salt marsh settings, and cows grazing in pastoral fields reflect Maine’s unlimited ranges of color and light. Though she often works en plein aire, Bigbee works intuitively and strives to let her work "arrive at its essence by staying open to the possibilities" that spontaneously emerge while the painting is underway. Whether capturing a moment in time, or reflecting a remarkable spectrum of colors, there is a distinctive energy and harmony in her art.
Bigbee has taken workshops with renowned artists: Anne Packard & Cynthia Packard, Robert Henry & Selina Trieff and Maine artists Stan Moeller, Henry Isaacs and Holly Ready. Her work is shown a great deal locally and in northern New England. Bigbee has been represented by the Van Ward Gallery since 1993.
GEORGE CARPENTER (1928-2006)
Living most of his life in Maine, Mr. Carpenter was an Impressionist-style landscape painter who was known primarily for his work with watercolors and to a lesser extent with oil medium. His work largely depicts maritime and woodland themes.
Carpenter moved to Ogunquit in 1963 and opened his own gallery in Perkins Cove in 1983 where he became part of the historic art community. He was seen painting outside his studio regularly and was a fixture in The Cove until his death. His work reflects a deep love and appreciation for New England and the Maine shore.
Carpenter was a prolific painter and was an active member of the Rockport Art Association. He has been exhibited widely in the U.S., Canada and abroad.
MOUNTFORD COOLIDGE (1888-1954)
Born in Brookline., as a young art student Mr. Coolidge studied in New York under Robert Henri. And in his early teenage years he travelled with his family to Ogunquit, then already a thriving artist's community, and eventually became a student of Hamilton Faster Field's. He continued to summer in Ogunquit for over 40 years, and was associated with such artists as Yasuo Kuniyoshi, Niles Spencer, Marsden Hartley, Bernard Karfiol and especially society painter Channing Hare. Because of this connection with some of the most progressive modern painters of his day, Coolidge's paintings are more than just representative paintings chronicling the landscape around him, they are expressions of the landscape as he experienced it as a "series of geometric and organic shapes and forms, patterns of color, and of images of the time in which he lived."
Coolidge painted tirelessly for several decades. He became a member of the Ogunquit Art Association, exhibiting locally. He also had several successful exhibitions in Paris, New York, Boston, Palm Beach and elsewhere. His work is held in many public collections. He died in Ogunquit in 1954.
JAY HALL CONNAWAY (1893-1970)
A native of Indiana, Mr. Connaway studied early in his career at the Art Institute of Indianapolis and at the Art Students' League with William Merritt Chase. After military service in the first World War, he stayed on in Europe to study in Paris at the Julia Academy and L'Ecole des Beaux Arts.
Returning to the US, Connaway spent several years painting on Head Harbor Island, Maine learning to depict the many moods of the sea. After many successful one-man shows in New York City and another several years painting in France, he returned to the United States during the perilous time of the Great Depression.
Seeking a refuge where he could paint undisturbed Connaway moved his family to Monhegan Island where he continued to develop confidence as a painter within its art community. Eventually he received the praises of art critics being called "the master sea painter of his generation." During this time, he also founded Connaway's Monhegan School of Art. After many years on his beloved island he moved to Dorset, Vermont in 1947 where he painted and taught until his death.
Collected extensively particularly in the Northeast, Connaway's works are found in many public collections such as the Museum of Fine Arts Boston, The Portland Museum of Art, and the Farnsworth Art Museum among others.
Born in Brookline., as a young art student Mr. Coolidge studied in New York under Robert Henri. And in his early teenage years he travelled with his family to Ogunquit, then already a thriving artist's community, and eventually became a student of Hamilton Faster Field's. He continued to summer in Ogunquit for over 40 years, and was associated with such artists as Yasuo Kuniyoshi, Niles Spencer, Marsden Hartley, Bernard Karfiol and especially society painter Channing Hare. Because of this connection with some of the most progressive modern painters of his day, Coolidge's paintings are more than just representative paintings chronicling the landscape around him, they are expressions of the landscape as he experienced it as a "series of geometric and organic shapes and forms, patterns of color, and of images of the time in which he lived."
Coolidge painted tirelessly for several decades. He became a member of the Ogunquit Art Association, exhibiting locally. He also had several successful exhibitions in Paris, New York, Boston, Palm Beach and elsewhere. His work is held in many public collections. He died in Ogunquit in 1954.
JAY HALL CONNAWAY (1893-1970)
A native of Indiana, Mr. Connaway studied early in his career at the Art Institute of Indianapolis and at the Art Students' League with William Merritt Chase. After military service in the first World War, he stayed on in Europe to study in Paris at the Julia Academy and L'Ecole des Beaux Arts.
Returning to the US, Connaway spent several years painting on Head Harbor Island, Maine learning to depict the many moods of the sea. After many successful one-man shows in New York City and another several years painting in France, he returned to the United States during the perilous time of the Great Depression.
Seeking a refuge where he could paint undisturbed Connaway moved his family to Monhegan Island where he continued to develop confidence as a painter within its art community. Eventually he received the praises of art critics being called "the master sea painter of his generation." During this time, he also founded Connaway's Monhegan School of Art. After many years on his beloved island he moved to Dorset, Vermont in 1947 where he painted and taught until his death.
Collected extensively particularly in the Northeast, Connaway's works are found in many public collections such as the Museum of Fine Arts Boston, The Portland Museum of Art, and the Farnsworth Art Museum among others.
GERTRUDE FISKE (1879-1961)
Born in Boston, Ms. Fiske gave up a promising golf career to pursue art when she enrolled in the MFA School in 1904. Fiske studied in the Museum School for seven years, while spending summers in Ogunquit enrolled in Charles Woodbury's art classes. Woodbury's painting and print style had a lasting effect on her work, and his influence can especially be seen in her depictions of coastal Maine and rural New England.
Fiske's painting is characterized by its vibrant colors, lively brush work and technical skill. While her paintings were widely shown, Fiske also completed an impressive body of etchings that she exhibited during her life.
Fiske was a founding member of the Ogunquit Art Association in 1930.
JAMES FITZGERALD (1899-1971)
A native of Boston, Mr. Fitzgerald served in the United States Marine Corps from 1918 until 1919, and then studied at the Massachusetts School of Art. Between 1923 and 1924 he studied at the School of the Museum of Fine Arts. The following year the Fitzgerald opened his own studio in Boston.
In 1928 he moved to Monterey, California, where he bought a piece of land and built a studio the following year. Soon thereafter, Fitzgerald became associated with the Cannery Row circle including marine biologist Doc Rickets and author John Steinbeck. While in California he married Margaret Mather in 1931 and later painted two murals for public works projects.
In 1943 Fitzgerald returned to the Northeast and moved to Monhegan Island where he became a member of its art colony. Unfortunately, his marriage ended the following year. In 1948 Fitzgerald began to make yearly painting trips to Mount Katahdin in Maine, and he spent his winters making decorative gilding in New York City. Fitzgerald bought a studio owned by Rockwell Kent on Monhegan and in 1958 he moved into a cottage built by Rockwell Kent. He traveled extensively in Europe during his later years, spending several winters in the Aran Islands off Ireland's west coast. Fitzgerald died on Aranmore Island in 1971, and is buried in Dublin, Ireland.
His works can be found in many important public collections including National Portrait Gallery in Washington, DC, the Museum of Fine Arts in Boston and the Portland Museum of Art in Maine.
Born in Boston, Ms. Fiske gave up a promising golf career to pursue art when she enrolled in the MFA School in 1904. Fiske studied in the Museum School for seven years, while spending summers in Ogunquit enrolled in Charles Woodbury's art classes. Woodbury's painting and print style had a lasting effect on her work, and his influence can especially be seen in her depictions of coastal Maine and rural New England.
Fiske's painting is characterized by its vibrant colors, lively brush work and technical skill. While her paintings were widely shown, Fiske also completed an impressive body of etchings that she exhibited during her life.
Fiske was a founding member of the Ogunquit Art Association in 1930.
JAMES FITZGERALD (1899-1971)
A native of Boston, Mr. Fitzgerald served in the United States Marine Corps from 1918 until 1919, and then studied at the Massachusetts School of Art. Between 1923 and 1924 he studied at the School of the Museum of Fine Arts. The following year the Fitzgerald opened his own studio in Boston.
In 1928 he moved to Monterey, California, where he bought a piece of land and built a studio the following year. Soon thereafter, Fitzgerald became associated with the Cannery Row circle including marine biologist Doc Rickets and author John Steinbeck. While in California he married Margaret Mather in 1931 and later painted two murals for public works projects.
In 1943 Fitzgerald returned to the Northeast and moved to Monhegan Island where he became a member of its art colony. Unfortunately, his marriage ended the following year. In 1948 Fitzgerald began to make yearly painting trips to Mount Katahdin in Maine, and he spent his winters making decorative gilding in New York City. Fitzgerald bought a studio owned by Rockwell Kent on Monhegan and in 1958 he moved into a cottage built by Rockwell Kent. He traveled extensively in Europe during his later years, spending several winters in the Aran Islands off Ireland's west coast. Fitzgerald died on Aranmore Island in 1971, and is buried in Dublin, Ireland.
His works can be found in many important public collections including National Portrait Gallery in Washington, DC, the Museum of Fine Arts in Boston and the Portland Museum of Art in Maine.
BONNEY GOLDSTEIN
Having Midwestern roots, Ms. Goldstein earned her Bachelor of Science degree from Mills College and her MFA from Goddard, while also studying at Arts Students Leagues in both New York and Denver.
Possessing impressive arts training and a long string of major shows to her credit, the artist currently produces distinctive abstract works in Florida though she recently painted in Portsmouth, NH. With more than 24 major exhibitions to her credit, she also has works in many major corporate collections.
Goldstein stated about her own art," Through the use of mixed media and my own techniques I have found that my work now stands as a visual diary of a day. The simplicity of the image understates the history leading to that
time."
ELWYN GOWEN (1895-1954)
A native of Sanford, Maine, Mr. Gowen graduated from the School of the Museum of Fine Arts, Boston in 1918 with highest honors. He was awarded the Ripley Scholarship, the Thayer Prize and two consecutive years of the Cummings Traveling Scholarship in Europe. Further studies were completed at the New York School of Interior Decoration.
The artist's training in his late teens and early twenties provided him with a firm foundation in the science of color, and deeply rooted him in design and composition. Following years of employment as an archivist for the collections at the MFA, in 1932 Gowen participated in outside painting classes with Charles Woodbury in Ogunquit. Following the course, he was invited to serve as an instructor and associate to Mr. Woodbury at the Ogunquit and Boston studios. Under Woodbury's tutelage his art matured "becoming alive with spontaneity." This time was the most productive of his art career and was best known for paintings of seascapes and landscapes.
Gowen belonged to the Boston Society of Independent Artists and was a "First Member" of The Barn Gallery in Ogunquit.
GEORGE HAWLEY HALLOWELL (1871-1926)
George Hawley Hallowell was born in Boston where he spent his professional life studying with Edmund C. Tarbell and Frank W. Benson at Boston's Museum School. Like many other serious artists of his generation, he also painted in Paris (1906.) As his style matured, Hallowell was known for fusing color hues and tones into blurry edged atmospheric landscapes. This technique was unique among his peers so was considered an avant-garde member of the Boston school. As a prolific painter in watercolors and oil, Hallowell is best known for his scenes of northern forests, logging camps and melancholy landscapes in America and Canada
Though the artist had several solo exhibitions
in Boston and also in New York during his career and was highly praised by critics, his estate which contained much of his work was stored in secrecy by relatives for many decades following his death. Awards include: gold medal, St. Louis Exposition (1904); gold medal for watercolor painting, Pan-Pacific Exposition (1915, San Francisco) and the Beal Prize, N.Y. Water Color Club (1904). His works are held in many museums and public collections.
Having Midwestern roots, Ms. Goldstein earned her Bachelor of Science degree from Mills College and her MFA from Goddard, while also studying at Arts Students Leagues in both New York and Denver.
Possessing impressive arts training and a long string of major shows to her credit, the artist currently produces distinctive abstract works in Florida though she recently painted in Portsmouth, NH. With more than 24 major exhibitions to her credit, she also has works in many major corporate collections.
Goldstein stated about her own art," Through the use of mixed media and my own techniques I have found that my work now stands as a visual diary of a day. The simplicity of the image understates the history leading to that
time."
ELWYN GOWEN (1895-1954)
A native of Sanford, Maine, Mr. Gowen graduated from the School of the Museum of Fine Arts, Boston in 1918 with highest honors. He was awarded the Ripley Scholarship, the Thayer Prize and two consecutive years of the Cummings Traveling Scholarship in Europe. Further studies were completed at the New York School of Interior Decoration.
The artist's training in his late teens and early twenties provided him with a firm foundation in the science of color, and deeply rooted him in design and composition. Following years of employment as an archivist for the collections at the MFA, in 1932 Gowen participated in outside painting classes with Charles Woodbury in Ogunquit. Following the course, he was invited to serve as an instructor and associate to Mr. Woodbury at the Ogunquit and Boston studios. Under Woodbury's tutelage his art matured "becoming alive with spontaneity." This time was the most productive of his art career and was best known for paintings of seascapes and landscapes.
Gowen belonged to the Boston Society of Independent Artists and was a "First Member" of The Barn Gallery in Ogunquit.
GEORGE HAWLEY HALLOWELL (1871-1926)
George Hawley Hallowell was born in Boston where he spent his professional life studying with Edmund C. Tarbell and Frank W. Benson at Boston's Museum School. Like many other serious artists of his generation, he also painted in Paris (1906.) As his style matured, Hallowell was known for fusing color hues and tones into blurry edged atmospheric landscapes. This technique was unique among his peers so was considered an avant-garde member of the Boston school. As a prolific painter in watercolors and oil, Hallowell is best known for his scenes of northern forests, logging camps and melancholy landscapes in America and Canada
Though the artist had several solo exhibitions
in Boston and also in New York during his career and was highly praised by critics, his estate which contained much of his work was stored in secrecy by relatives for many decades following his death. Awards include: gold medal, St. Louis Exposition (1904); gold medal for watercolor painting, Pan-Pacific Exposition (1915, San Francisco) and the Beal Prize, N.Y. Water Color Club (1904). His works are held in many museums and public collections.
DEWITT HARDY
A resident of southern Maine and long respect figure in the Ogunquit art community, Mr. Hardy was born in St. Louis, Missouri in 1940. He received formal education at Syracuse University. A theatrical set designer and skillful painter in many media, Hardy is celebrated primarily for his realistic watercolor depictions of landscapes, portraits and life figures.
Hardy's incredible command of the watercolor medium is apparent in examination of his paintings. In his works the artist underscores the beauty and radiance of the technique by use of subtle coloration or sometimes no coloration at all, causing the work to radiate. A critic once stated that Hardy gives his paintings "life and soul."
During his distinguished career the artist has received national and international recognition. His paintings have been featured in sixteen one-man shows in New York City and are distributed in over forty museums throughout the world including the British Museum, the Smithsonian and the Library of Congress. He was featured in the article "American Realism" in 20th Century Drawing and Watercolors published by the San Francisco Museum of Modern Art and is also listed in Who's Who in American Art.
Mr. Hardy lives with his family in the village of South Berwick, Maine.
S. HOPKINS HENSEL (1921-1979)
Mr. Hensel is a relatively unidentified American artist born in 1921. The artist was a crafted painter of caricature-like figures in interior settings painted in oil on canvas. Most auction activity of the artist work was concentrated during the years following the Second World War though one sale of Hensel’s paintings was recorded by Sotheby’s in 2010.
WINSLOW HOMER (1836-1910)
Born in Boston and reared in nearby Cambridge, Homer became one of the all-time leading figures in American art, known for his marine genre paintings and for his espousing of realism, especially of American life. From the 1880s until his death, his work was focused on issues of mortality and the forces of nature such as violent storms at sea. Between 1884 and 1889, he did numerous etchings of his own paintings and watercolors.
A world traveler seeking inspiration for his art, Homer settled in 1882 and lived until his death in secluded Prout's Neck. He found this remote area on the coast of Maine similar to the rugged English shore that inspired his earlier watercolors. Here he was able to indulge his fascination with the moods of the weather and people in the landscape, themes that were prominent in his later depictions.
A resident of southern Maine and long respect figure in the Ogunquit art community, Mr. Hardy was born in St. Louis, Missouri in 1940. He received formal education at Syracuse University. A theatrical set designer and skillful painter in many media, Hardy is celebrated primarily for his realistic watercolor depictions of landscapes, portraits and life figures.
Hardy's incredible command of the watercolor medium is apparent in examination of his paintings. In his works the artist underscores the beauty and radiance of the technique by use of subtle coloration or sometimes no coloration at all, causing the work to radiate. A critic once stated that Hardy gives his paintings "life and soul."
During his distinguished career the artist has received national and international recognition. His paintings have been featured in sixteen one-man shows in New York City and are distributed in over forty museums throughout the world including the British Museum, the Smithsonian and the Library of Congress. He was featured in the article "American Realism" in 20th Century Drawing and Watercolors published by the San Francisco Museum of Modern Art and is also listed in Who's Who in American Art.
Mr. Hardy lives with his family in the village of South Berwick, Maine.
S. HOPKINS HENSEL (1921-1979)
Mr. Hensel is a relatively unidentified American artist born in 1921. The artist was a crafted painter of caricature-like figures in interior settings painted in oil on canvas. Most auction activity of the artist work was concentrated during the years following the Second World War though one sale of Hensel’s paintings was recorded by Sotheby’s in 2010.
WINSLOW HOMER (1836-1910)
Born in Boston and reared in nearby Cambridge, Homer became one of the all-time leading figures in American art, known for his marine genre paintings and for his espousing of realism, especially of American life. From the 1880s until his death, his work was focused on issues of mortality and the forces of nature such as violent storms at sea. Between 1884 and 1889, he did numerous etchings of his own paintings and watercolors.
A world traveler seeking inspiration for his art, Homer settled in 1882 and lived until his death in secluded Prout's Neck. He found this remote area on the coast of Maine similar to the rugged English shore that inspired his earlier watercolors. Here he was able to indulge his fascination with the moods of the weather and people in the landscape, themes that were prominent in his later depictions.
CRAIG HOOD
A prolific artist and educator, in recent years Mr. Hood has focused more exclusively on the “figure-in-landscape” images while effectively employing his delicate and subtle drawing and shading techniques.
The artist has a national exhibition record and has won a Ford Foundation Grant, been a finalist for the Rome Prize in Painting (1987), and was nominated for a Louis Comfort-Tiffany Award (1999). His landscape paintings have been exhibited in many venues from Portland, Maine to New York City and Naples, Florida.
Hood has taught painting and drawing at the University of New Hampshire since 1981. The artist lives and works in Portsmouth, NH.
A prolific artist and educator, in recent years Mr. Hood has focused more exclusively on the “figure-in-landscape” images while effectively employing his delicate and subtle drawing and shading techniques.
The artist has a national exhibition record and has won a Ford Foundation Grant, been a finalist for the Rome Prize in Painting (1987), and was nominated for a Louis Comfort-Tiffany Award (1999). His landscape paintings have been exhibited in many venues from Portland, Maine to New York City and Naples, Florida.
Hood has taught painting and drawing at the University of New Hampshire since 1981. The artist lives and works in Portsmouth, NH.
PAUL INGLIS
Mr. Inglis was born in 1963 and is a graduate of the Massachusetts College of Art and Design. Though he has travelled extensively. Inglis has been a permanent resident of the Boston area since college.
Inglis has been prolific throughout his entire career though not always in a single medium or style. On an extensive journey to the western U.S and Canada in the early 1990s the impressive natural landscapes inspired a large body of traditional work. However, the artist's work is more recognizable when he uses oil, acrylic, mono-type printing, etching and sculpture to represent the Boston Hay Market, North End, and the Common and Public Garden cityscapes as these scenes have continually motivated him throughout his lifetime.
The Van Ward Gallery recognized the talent of Mr. Inglis early and has represented the artist for over twenty years. A favorite among collectors, Inglis's work is represented in many private art collections throughout the country.
KEVIN KEISER
"Originally trained in the graphic arts of industrial design and photography, the exploration of ceramics allows me to work with volume and texture as well as line, shape and color.
Inspiration comes through our natural environment. My studio opens onto my garden, ravine and small stream. I spend time on the Maine coastline, walking the beach and forest trails. Found objects, worn shapes, textures, the way objects feel and their color relationships find their way into my ceramics.
The work starts by throwing cylinders on the wheel, the form is then altered, and a base is applied. I may drop the structure onto an object, or strike it to achieve a shape that suggests movement, or a balance of tension and serenity. Some pieces don't survive this process. Slips and underglazes are applied providing color and texture. The work is bisque fired then my glazes are applied by sponge, brush, dip, or airbrush. Some pieces benefit from second or third glaze applications and firings
creating depth within the surfaces.
My desire is to create work that inspires people to notice the beauty in their environment, to provide a visual meditation of the art in our world. I hope my ceramic vessels will hold space for people, encouraging them to recognize and engage their own creative energies." K Keiser, ceramicist
Mr. Inglis was born in 1963 and is a graduate of the Massachusetts College of Art and Design. Though he has travelled extensively. Inglis has been a permanent resident of the Boston area since college.
Inglis has been prolific throughout his entire career though not always in a single medium or style. On an extensive journey to the western U.S and Canada in the early 1990s the impressive natural landscapes inspired a large body of traditional work. However, the artist's work is more recognizable when he uses oil, acrylic, mono-type printing, etching and sculpture to represent the Boston Hay Market, North End, and the Common and Public Garden cityscapes as these scenes have continually motivated him throughout his lifetime.
The Van Ward Gallery recognized the talent of Mr. Inglis early and has represented the artist for over twenty years. A favorite among collectors, Inglis's work is represented in many private art collections throughout the country.
KEVIN KEISER
"Originally trained in the graphic arts of industrial design and photography, the exploration of ceramics allows me to work with volume and texture as well as line, shape and color.
Inspiration comes through our natural environment. My studio opens onto my garden, ravine and small stream. I spend time on the Maine coastline, walking the beach and forest trails. Found objects, worn shapes, textures, the way objects feel and their color relationships find their way into my ceramics.
The work starts by throwing cylinders on the wheel, the form is then altered, and a base is applied. I may drop the structure onto an object, or strike it to achieve a shape that suggests movement, or a balance of tension and serenity. Some pieces don't survive this process. Slips and underglazes are applied providing color and texture. The work is bisque fired then my glazes are applied by sponge, brush, dip, or airbrush. Some pieces benefit from second or third glaze applications and firings
creating depth within the surfaces.
My desire is to create work that inspires people to notice the beauty in their environment, to provide a visual meditation of the art in our world. I hope my ceramic vessels will hold space for people, encouraging them to recognize and engage their own creative energies." K Keiser, ceramicist
ROCKWELL KENT (1882-1971)
American painter and illustrator, Mr. Kent fitted into the Realist tradition that was a revolutionary force early in 20th century art, eventually developing a stylized approach to subjects taken from the working class.
Born in Tarrytown Heights, N.Y., Kent studied architecture at Columbia University, however, he became a painter, studying with William Merritt Chase, Robert Henri, and others. A socialist from an early age, he apparently saw his work as growing out of a general socialist respect for workers.
Kent was a remarkable man. Perhaps because of his political beliefs, but probably out of some deeper feeling for reality, he worked at various times in his life as a lobsterman and carpenter along the coast of Maine and as a shipwright. He lived in Alaska, Newfoundland, and Greenland, drawing many of his best-known pictures of the people and their activities there. In a small boat he explored the waters off the southern tip of South America.
Kent illustrated Wilderness and Voyaging Southward, which many critics consider the best American books of their kind ever produced. Kent is as responsible as any artist for the high level of American book illustration during the first half of the 20th century. His illustrations, like his paintings, often create a mood of loneliness and a sense of man's small resources against the might of nature.
The artist's work has won numerous awards and has been exhibited in group shows in several museums and institutions. His art is found in the permanent collections of the The Ogunquit Museum of Art, the Farnsworth Art Museum, the Colby College Art Museum, the Montclair Art Museum and Phillips Exeter Academy.
JOHN LAURENT (1921-2005)
A native of Brooklyn, N.Y., Mr. Laurent grew up surrounded by great art and famous artists. No stranger to the southern Maine coast as his father, sculptor Robert Laurent, helped establish the Ogunquit School of Painting and Sculpture in the first decades of the last century. Through his father, he also knew American Modernist painters Marsden Hartley and Walt Kuhn, who later became his mentor. After studying at Syracuse University (BFA) and Académie de la Grande Chaumiere in Paris, Laurent received his MAT degree from University of Indiana in 1954.
Laurent was an instructor of art from an early age having taught at the Ogunquit School in Perkins Cove during summers of 1946-1960. He was also a mentor and an inspiration to generations of University of New Hampshire students where he was a popular art professor for thirty years.
Laurent preferred media was acrylics and oils and was well-known for his landscapes and seascapes in which he explored a broad range of technique, experimenting with both realism and abstraction. During his career he gained critical acclaim for his work, which is part of many public and private collections around the US.
American painter and illustrator, Mr. Kent fitted into the Realist tradition that was a revolutionary force early in 20th century art, eventually developing a stylized approach to subjects taken from the working class.
Born in Tarrytown Heights, N.Y., Kent studied architecture at Columbia University, however, he became a painter, studying with William Merritt Chase, Robert Henri, and others. A socialist from an early age, he apparently saw his work as growing out of a general socialist respect for workers.
Kent was a remarkable man. Perhaps because of his political beliefs, but probably out of some deeper feeling for reality, he worked at various times in his life as a lobsterman and carpenter along the coast of Maine and as a shipwright. He lived in Alaska, Newfoundland, and Greenland, drawing many of his best-known pictures of the people and their activities there. In a small boat he explored the waters off the southern tip of South America.
Kent illustrated Wilderness and Voyaging Southward, which many critics consider the best American books of their kind ever produced. Kent is as responsible as any artist for the high level of American book illustration during the first half of the 20th century. His illustrations, like his paintings, often create a mood of loneliness and a sense of man's small resources against the might of nature.
The artist's work has won numerous awards and has been exhibited in group shows in several museums and institutions. His art is found in the permanent collections of the The Ogunquit Museum of Art, the Farnsworth Art Museum, the Colby College Art Museum, the Montclair Art Museum and Phillips Exeter Academy.
JOHN LAURENT (1921-2005)
A native of Brooklyn, N.Y., Mr. Laurent grew up surrounded by great art and famous artists. No stranger to the southern Maine coast as his father, sculptor Robert Laurent, helped establish the Ogunquit School of Painting and Sculpture in the first decades of the last century. Through his father, he also knew American Modernist painters Marsden Hartley and Walt Kuhn, who later became his mentor. After studying at Syracuse University (BFA) and Académie de la Grande Chaumiere in Paris, Laurent received his MAT degree from University of Indiana in 1954.
Laurent was an instructor of art from an early age having taught at the Ogunquit School in Perkins Cove during summers of 1946-1960. He was also a mentor and an inspiration to generations of University of New Hampshire students where he was a popular art professor for thirty years.
Laurent preferred media was acrylics and oils and was well-known for his landscapes and seascapes in which he explored a broad range of technique, experimenting with both realism and abstraction. During his career he gained critical acclaim for his work, which is part of many public and private collections around the US.
RICHARD LAHEY (1893-1978)
Mr. Lahey was known as a versatile painter with his range including landscape, portraits and still life and covered both traditional and abstract styles. Prior to an 18-month stint in the Camouflage Corps of the Navy during World War I, Lahey studied at the Art Students' League in New York under Robert Henri, a member of the "Ash Can School.” He also studied under Kenneth Hayes Miller and George Bridgman and spent several summers studying in France, Germany, Italy and Spain.
Strangely the Lahey originally entered the professional art field not by producing “fine art” but by way cartooning, drawing caricatures of famous contemporaries. He was a successful free-lance artist for the old New York World Sunday Magazine and for the New York Times. But Lahey seriously began his career as an artist after the World War by establishing a studio and showing watercolors and paintings in his native Jersey City, N.J.
Teaching always accompanied his painting career. In 1921 he joined the faculty of the Minneapolis School of Art. Two years later he was appointed to teach at theucher CArt Students' League, a position he held until he became the fifth principal of the Corcoran in 1935. In 1937, Lahey began a 23-year affiliation with Goollege as a professor of fine arts.
The artist was a former member of the Virginia State Art Commission. He also belonged to the American Society of Painters, Sculptors and Gravers, and the Washington Society of Artists. Lahey’s work has been featured at art museums in New York, Boston, Baltimore, Brooklyn, Toledo, and Detroit, and at the Library of Congress.
Mr. Lahey was known as a versatile painter with his range including landscape, portraits and still life and covered both traditional and abstract styles. Prior to an 18-month stint in the Camouflage Corps of the Navy during World War I, Lahey studied at the Art Students' League in New York under Robert Henri, a member of the "Ash Can School.” He also studied under Kenneth Hayes Miller and George Bridgman and spent several summers studying in France, Germany, Italy and Spain.
Strangely the Lahey originally entered the professional art field not by producing “fine art” but by way cartooning, drawing caricatures of famous contemporaries. He was a successful free-lance artist for the old New York World Sunday Magazine and for the New York Times. But Lahey seriously began his career as an artist after the World War by establishing a studio and showing watercolors and paintings in his native Jersey City, N.J.
Teaching always accompanied his painting career. In 1921 he joined the faculty of the Minneapolis School of Art. Two years later he was appointed to teach at theucher CArt Students' League, a position he held until he became the fifth principal of the Corcoran in 1935. In 1937, Lahey began a 23-year affiliation with Goollege as a professor of fine arts.
The artist was a former member of the Virginia State Art Commission. He also belonged to the American Society of Painters, Sculptors and Gravers, and the Washington Society of Artists. Lahey’s work has been featured at art museums in New York, Boston, Baltimore, Brooklyn, Toledo, and Detroit, and at the Library of Congress.
JOHN MARIN (1870-1953)
A native of Rutherford, NJ, Mr. Marin received formal training at the Pennsylvania Academy of the Fine Arts for architecture and the Art Students League of New York under William Merritt Chase. In 1905 he went to Europe but remained largely unaware of the new movements in European art until 1910, when he returned to New York City. There he became familiar with Cubism and German Expressionism. Influenced by those movements and his own early training in structural design, his technique matured into a personal form of Expressionism. He is regarded as one of the first American Abstract painters.
Marin first visited Maine in 1914 and for the rest of his life, he summered in the state where he depicted its rocky coastline and landscape in his unique treatment of paint, watercolor and printmaking. Chicago, the National Gallery of Art and many others. The White House acquired his 1952 painting “The Circus No. 1” in 2007, and it is now displayed in the Green Room.He died after a distinguished career in his seasonal home in Addison, Maine.
As an elder statesman of American Art, Marin received honorary doctorates from the University of Maine and Yale in 1950. His work is represented in several important permanent collections and museums including the Metropolitan Museum of Art, the Museum of Modern Art, the Art Institute of
JON ALLAN MARSHALL
Born in Quincy, Massachusetts in 1964 and educated at the Massachusetts College of Art, Mr. Marshall works primarily in oils in the "classical tradition" inspired by 17th century Dutch landscape, still life, and portrait painters. His mastery of landscape painting unfurled after his move to Maine nearly 20 years ago to areas close to mountains and seacoast where he receives constant inspiration for his work.
Recognized for his ability at an early age, Marshall was one of the youngest ever Copley Master honored by Boston's Copley Society of Art. Recently he received the Alden Bryan Memorial Award for traditional landscape in oil from the CSA.
A serious and productive artist, Marshall's works are widely exhibited throughout the United States.
A native of Rutherford, NJ, Mr. Marin received formal training at the Pennsylvania Academy of the Fine Arts for architecture and the Art Students League of New York under William Merritt Chase. In 1905 he went to Europe but remained largely unaware of the new movements in European art until 1910, when he returned to New York City. There he became familiar with Cubism and German Expressionism. Influenced by those movements and his own early training in structural design, his technique matured into a personal form of Expressionism. He is regarded as one of the first American Abstract painters.
Marin first visited Maine in 1914 and for the rest of his life, he summered in the state where he depicted its rocky coastline and landscape in his unique treatment of paint, watercolor and printmaking. Chicago, the National Gallery of Art and many others. The White House acquired his 1952 painting “The Circus No. 1” in 2007, and it is now displayed in the Green Room.He died after a distinguished career in his seasonal home in Addison, Maine.
As an elder statesman of American Art, Marin received honorary doctorates from the University of Maine and Yale in 1950. His work is represented in several important permanent collections and museums including the Metropolitan Museum of Art, the Museum of Modern Art, the Art Institute of
JON ALLAN MARSHALL
Born in Quincy, Massachusetts in 1964 and educated at the Massachusetts College of Art, Mr. Marshall works primarily in oils in the "classical tradition" inspired by 17th century Dutch landscape, still life, and portrait painters. His mastery of landscape painting unfurled after his move to Maine nearly 20 years ago to areas close to mountains and seacoast where he receives constant inspiration for his work.
Recognized for his ability at an early age, Marshall was one of the youngest ever Copley Master honored by Boston's Copley Society of Art. Recently he received the Alden Bryan Memorial Award for traditional landscape in oil from the CSA.
A serious and productive artist, Marshall's works are widely exhibited throughout the United States.
PAUL NIEMIEC
Born in 1948, Mr. Niemiec’s work reflects his rural upbringing and his deeply rooted interest in traditional American Realism. His themes are drawn primarily from personal experiences in upstate New York and coastal Maine. He enjoys the challenge of working in varied mediums including watercolor, oil, mixed media, egg tempera and printmaking.
The artist has professional affiliations with regional and national organizations, including The Society of American Graphic Artists, American Society of Portrait Artists and The Central New York Watercolor Society. He has exhibited in over 40 group exhibitions and juried shows and more than 15 solo exhibitions since the 1970s.
Niemiec’s work has received numerous regional and national awards in exhibitions including the Salmagundi Club in New York City. He is included in the Millennium Edition of Who’s Who in America and his work has been published in many journals and books.
Born in 1948, Mr. Niemiec’s work reflects his rural upbringing and his deeply rooted interest in traditional American Realism. His themes are drawn primarily from personal experiences in upstate New York and coastal Maine. He enjoys the challenge of working in varied mediums including watercolor, oil, mixed media, egg tempera and printmaking.
The artist has professional affiliations with regional and national organizations, including The Society of American Graphic Artists, American Society of Portrait Artists and The Central New York Watercolor Society. He has exhibited in over 40 group exhibitions and juried shows and more than 15 solo exhibitions since the 1970s.
Niemiec’s work has received numerous regional and national awards in exhibitions including the Salmagundi Club in New York City. He is included in the Millennium Edition of Who’s Who in America and his work has been published in many journals and books.
ROBERT E. MOORE (1955-2003)
Mr. Moore was born in Washington State where he attended Fort Wright College on an academic scholarship majoring in art. Looking for traditional disciplines and techniques in painting, he went to New York to pursue independent study. While in New York, he received a grant to paint in Woodstock, New York and met the noted Boston painter R.H. Ives Gammell. He studied with Gammell for four years and became thoroughly practiced in the Boston School tradition of painting. Robert also traveled extensively in Europe studying the Old Masters of European painting.
Moore’s paintings, primarily portraits, still life and local landscapes are in numerous private and public collections. He also was the recipient of many prestigious awards. Moore's works are reproduced in the arts books entitled, Realism in Revolution - The Art of the Boston School and The Boston Painters 1900-1930.
The artist’s work is included in the permanent collections of the Boston Public Library and the Boston Athenaeum. His work has also appeared in The New Yorker, Art in America and American Art Review.
Mr. Moore was born in Washington State where he attended Fort Wright College on an academic scholarship majoring in art. Looking for traditional disciplines and techniques in painting, he went to New York to pursue independent study. While in New York, he received a grant to paint in Woodstock, New York and met the noted Boston painter R.H. Ives Gammell. He studied with Gammell for four years and became thoroughly practiced in the Boston School tradition of painting. Robert also traveled extensively in Europe studying the Old Masters of European painting.
Moore’s paintings, primarily portraits, still life and local landscapes are in numerous private and public collections. He also was the recipient of many prestigious awards. Moore's works are reproduced in the arts books entitled, Realism in Revolution - The Art of the Boston School and The Boston Painters 1900-1930.
The artist’s work is included in the permanent collections of the Boston Public Library and the Boston Athenaeum. His work has also appeared in The New Yorker, Art in America and American Art Review.
MICHAEL PALMER
Born in 1942 and a native of Kentucky, Mr. Palmer received his BFA in 1970 from the University of New Hampshire in Durham. While a student, he became aware of the art colony in Ogunquit which he has long since been associated. During his life he has lived and worked in the Caribbean and Southern Florida though his primary residence now is Perkins Cove.
Through his long prolific career of over forty years, the artist's imagery has gone from rather precise portrayals of Americana to somewhat abstract landscapes with an unmistakable architectural approach, and often represented in a bird's eye perspective. Over time, his emphasis has been put more on form and design and less on content and narrative. Though the settings for his work is not necessarily specific to his living locations of Ogunquit or Key West, one can imagine an inspiration of one place or the other in his work.
Palmer is known for systematically combining paint and ink in one painting. He admits that though he sometimes begins painting without any preconceived plan, he often finishes a depiction with minute drawings in ink on painted canvas.
Listed in the prestigious Who's Who in Art, Palmer's work has been exhibited in several museum and fine art gallery throughout the U.S. and Canada, and is part of many important public collections.
PARKER S. PERKINS (1862-1942)
Parker S. Perkins was an obscure, largely self-taught artist who was born in Lowell, Massachusetts during the US Civil War. By the end of his life he was a respected marine painter of the Rockport (Massachusetts) art colony. Though his painting themes were primarily maritime in nature, he is noted for landscapes, interiors and figures representations.
Although not formally educated, Perkins was appreciated by his Rockport peers. He is remembered to have painted with Harrison Cady, an illustrator and life-long friend, a large mural in Manhattan. Perkins it is believed considered staying in New York after the work was completed to pursue a more lucrative art career but returned to Rockport, painting there until his death.
The artist exhibited with the Boston Art Club in several shows before the turn of the 20th century and also in New York galleries and the Rockport Art Association. His work is also represented in collections of the Whistler House Museum of Art in Lowell, MA; the Rockport Art Association in Rockport and others.
Born in 1942 and a native of Kentucky, Mr. Palmer received his BFA in 1970 from the University of New Hampshire in Durham. While a student, he became aware of the art colony in Ogunquit which he has long since been associated. During his life he has lived and worked in the Caribbean and Southern Florida though his primary residence now is Perkins Cove.
Through his long prolific career of over forty years, the artist's imagery has gone from rather precise portrayals of Americana to somewhat abstract landscapes with an unmistakable architectural approach, and often represented in a bird's eye perspective. Over time, his emphasis has been put more on form and design and less on content and narrative. Though the settings for his work is not necessarily specific to his living locations of Ogunquit or Key West, one can imagine an inspiration of one place or the other in his work.
Palmer is known for systematically combining paint and ink in one painting. He admits that though he sometimes begins painting without any preconceived plan, he often finishes a depiction with minute drawings in ink on painted canvas.
Listed in the prestigious Who's Who in Art, Palmer's work has been exhibited in several museum and fine art gallery throughout the U.S. and Canada, and is part of many important public collections.
PARKER S. PERKINS (1862-1942)
Parker S. Perkins was an obscure, largely self-taught artist who was born in Lowell, Massachusetts during the US Civil War. By the end of his life he was a respected marine painter of the Rockport (Massachusetts) art colony. Though his painting themes were primarily maritime in nature, he is noted for landscapes, interiors and figures representations.
Although not formally educated, Perkins was appreciated by his Rockport peers. He is remembered to have painted with Harrison Cady, an illustrator and life-long friend, a large mural in Manhattan. Perkins it is believed considered staying in New York after the work was completed to pursue a more lucrative art career but returned to Rockport, painting there until his death.
The artist exhibited with the Boston Art Club in several shows before the turn of the 20th century and also in New York galleries and the Rockport Art Association. His work is also represented in collections of the Whistler House Museum of Art in Lowell, MA; the Rockport Art Association in Rockport and others.
WILLIAM BOLESLAW PRESNAL (1910-?)
Mr. Presnal is (was?) a Massachusetts-born visual artist and teacher associated with the Rockport Massachusetts school. Several of the artist’s works have been sold at auction, largely of maritime subjects and of oil medium painted on board.
PETER ROUX
Born in Port Jefferson, New York, Mr. Roux received his Master of Fine Arts from the Massachusetts College of Art of Boston. While at the MCA, he was Teaching Assistant in Life Drawing and Introduction to Painting. Since the early 1980s, the artist has been working actively in the Boston / Providence areas in oils, charcoal, encaustic and monotype media.
Roux's art in recent years has its origins in landscape and in his fascination with environment and atmosphere. Although many consider Roux to be a landscape painter, he also works with abstract imagery. In his landscape work, edges are often blurred and less distinct and forms blend toward and into each other, sometimes suggesting movement.
Roux has long been active in the Artist Program at the DeCordova Museum in Lincoln, Massachusetts. His work has been shown in numerous solo and group exhibitions throughout the United States. The artist currently lives and works in Rhode Island.
DAVID VON SCHLEGELL (1920-1992)
Mr. von Schlegell was an abstract sculptor, painter and teacher who was born in St. Louis, Missouri. (William von Schlegell, his father, was himself a distinguished American Impressionist painter and teacher.) The artist studied painting at the Art Students League in New York.
After building a resident/studio in Ogunquit in the early 1960s, von Schlegell turned to sculpture. His work was often inspired by the streamline abstract forms derived from aeronautical shapes. He had his first one-man show of his sculpture at the Royal Marks Gallery, N.Y. in 1965. His installation in the “Primary Structures” exhibition at the Jewish Museum in 1966 is said to have helped establish the Minimalism art movement. In the 1970s and 80s the artist shown his sculpture renderings several times at Manhattan’s Pace Gallery, and in 1991 von Schlegell exhibited new oil works at the Althea Gallery in Soho.
Throughout his career, Mr. von Schlegell received many public commissions and several grants and awards, including the Skowhegan Medal for Sculpture in 1978. His work is represented in the collections of the Whitney Museum of American Art and the Rhode Island School of Design in Providence, R.I.
In 1971 Mr. von Schlegell was appointed director of graduate studies in sculpture at the Yale University. He retired from Yale in 1990 after nearly 20 years of mentoring.
Robert Van Vorst Sewell 1860-1924
A native of New York City, like many American artists of his generation, Robert Van Vorst Sewell studied painting in Paris with the French academic painters of the late 19th century. In Europe the artist developed many of his skills for his future work as a decorative muralist and landscape painter. He achieved notoriety early for his mythological themed murals. Famously he decorated the Casino in Monte Carlo. Sewell returned to New York after his time in France and settled in Oyster Bay on Long Island where he maintained a permanent residence.
Sewell travelled widely seeking inspiration for his art. While in California and Alaska, the large rugged natural landscapes became settings for some of his most recognized work. Later in his career he became among the first artists to paint on Monhegan Island. He travelled to Africa and the Mid-East and while on a working holiday, the artist died unexpectedly in Florence, Italy at the age of sixty-four.
In the late 1890's and early 1900's Sewell exhibited widely including at the National Academy of Design, the New York Architectural League, the Pan American Exposition of 1901 and the Louisiana Purchase Exhibition in St. Louis, frequently garnering prizes or medals. "Nymphs in a Landscape" displayed in the St. Regis Hotel in New York City is recognized as a particularly fine of example by Sewell's work as it contains elements of mythology and the human figure set in unblemished nature. As one expects of an artist of Sewell's distinction, his work can be found in public and private collections throughout the world.
LAURENCE SISSON (1928-2015)
Mr. Sisson, a student of New England artist Herbert Barnett, is one of America's preeminent realist painters today. Sisson's fluid and articulate style is his own unique and bold way of expressing his response to a certain segment of nature.
The artist lived in Maine for over ten years, and the powerful landscapes and seascapes provided him with an endless source of inspiration and subject matter. Beneath each of these naturalistic scenes lies an implicit abstract pattern, which contributes to the cohesiveness of the whole.
Sisson was born in Boston and studied at the Worcester Museum School and then at the Yale Summer School with a scholarship. He had his first one-man show at the Vose Galleries, Boston in 1951 at the age of twenty-three. His work is currently found in many public and college museum collections nationwide but notably in the Northeast, and other public, corporate and private collections.
CARL SPRINCHORN (1887-1971)
A landscape painter who combined Modernism and Realism, Mr. Sprinchorn was born in Sweden in 1887. He came to the United States at the age of 16 and became a student of Robert Henri in New York. Though he spent much of his life in New York state. he is more associated with Maine where he was a friend and contemporary of artist Marsden Hartley.
In 1910, Sprinchorn made his first visit to Maine and produced his first paintings of the Northern Woods. Between 1937 and 1952, he lived near Shin Pond in Penobscot County. After years of painting the life of Maine Lumberjacks, hunters, and river drivers, poor health caused him to return to New York where he died two decades later.
Recognized as a truly important and proficient 20th century artist, Sprinchorn’s work has been exhibited and collected globally though particularly by many public and college museums throughout New
England and New York.
DON STONE (1929-2015)
Interested in fine arts at an early age, Mr. Stone studied painting in public schools and after formally at Vesper George School of Art to which he later returned as an instructor. He also studied privately with Paul Strisik whom he credited with introducing him to plein aire painting.
It was during his youth in Gloucester that Stone became appreciative of the maritime and its working people, and as a regular artist on Monhegan Island, he exercised his mature artist’s skills, capturing the island’s dramatic cliffs, landscape and residents.
Active professionally within the art community, Stone was a member of National Academy of Design, the American Watercolor Society, The American Society of Marine Artists, The Hudson Valley Art Association, the Rockport Art Artists, the North Shore Art Association, and many others.
He had numerous one-man shows, and was included in international exhibitions, including the Royal Water Color Society, London. His paintings are in many museums and prominent collections, including Dartmouth College; Marietta College, Ohio; the University of New Hampshire; the Museum of Mobile, Alabama; the Canton Art Institute, Ohio; Berkshire Community College, Pittsfield, Massachusetts.
A landscape painter who combined Modernism and Realism, Mr. Sprinchorn was born in Sweden in 1887. He came to the United States at the age of 16 and became a student of Robert Henri in New York. Though he spent much of his life in New York state. he is more associated with Maine where he was a friend and contemporary of artist Marsden Hartley.
In 1910, Sprinchorn made his first visit to Maine and produced his first paintings of the Northern Woods. Between 1937 and 1952, he lived near Shin Pond in Penobscot County. After years of painting the life of Maine Lumberjacks, hunters, and river drivers, poor health caused him to return to New York where he died two decades later.
Recognized as a truly important and proficient 20th century artist, Sprinchorn’s work has been exhibited and collected globally though particularly by many public and college museums throughout New
England and New York.
DON STONE (1929-2015)
Interested in fine arts at an early age, Mr. Stone studied painting in public schools and after formally at Vesper George School of Art to which he later returned as an instructor. He also studied privately with Paul Strisik whom he credited with introducing him to plein aire painting.
It was during his youth in Gloucester that Stone became appreciative of the maritime and its working people, and as a regular artist on Monhegan Island, he exercised his mature artist’s skills, capturing the island’s dramatic cliffs, landscape and residents.
Active professionally within the art community, Stone was a member of National Academy of Design, the American Watercolor Society, The American Society of Marine Artists, The Hudson Valley Art Association, the Rockport Art Artists, the North Shore Art Association, and many others.
He had numerous one-man shows, and was included in international exhibitions, including the Royal Water Color Society, London. His paintings are in many museums and prominent collections, including Dartmouth College; Marietta College, Ohio; the University of New Hampshire; the Museum of Mobile, Alabama; the Canton Art Institute, Ohio; Berkshire Community College, Pittsfield, Massachusetts.
WILLIAM THOMSON (1931-2014)
Connecticut artist Mr. Thomson worked with an array of different media, and painted in realistic and sometimes intriguing haunting styles. His focus on nuances of color and paint applications enabled him to create powerful images from classical to abstract.
Thought by many to be one of the most gifted living American artists, Thomson chose to live in obscurity and center on the work to which he was so dedicated. With a career spanning more than 60 years, success and notoriety was never his goal though he gained considerable well-deserved critical acclaim in the 1960s, winning several competitions and receiving many awards for his artwork.
Thomson's paintings are included in numerous museum and university collections.
Connecticut artist Mr. Thomson worked with an array of different media, and painted in realistic and sometimes intriguing haunting styles. His focus on nuances of color and paint applications enabled him to create powerful images from classical to abstract.
Thought by many to be one of the most gifted living American artists, Thomson chose to live in obscurity and center on the work to which he was so dedicated. With a career spanning more than 60 years, success and notoriety was never his goal though he gained considerable well-deserved critical acclaim in the 1960s, winning several competitions and receiving many awards for his artwork.
Thomson's paintings are included in numerous museum and university collections.
STOW WENGENROTH (1906-1978)
Mr. Wengenroth was an American artist and lithographer, born in Brooklyn, New York. Wengenroth was once called "America's greatest living artist working in black and white" by the American realist painter Andrew Wyeth, and he is generally considered to be one of the finest American lithographers of the twentieth century. He studied at the Art Students League of New York from 1923 to 1927, then at the Grand Central School of Art. The artist lived and worked for many years on Long Island and then moved to Rockport, Massachusetts. He is renowned for his carefully wrought scenes of the New England seacoast-- craggy rocks, lighthouses, boats and the sea.
During his career, Wengenroth became well known for his detailed depictions of the seascapes and landscapes of New England and, in particular, Maine.
As an artist, he eschewed color in his lithographs but rather focused on shadow, light, and form to transmit detail and dimension. While his urban scenes of Manhattan and the New York City environs are especially coveted by the current market, Wengenroth was most adept at creating sincere yet vivid representations of the New England shoreline and interior.
Wengenroth was elected a member of the American Academy of Arts and Letters) in 1942 and was also a member of the Connecticut Academy of Fine Arts and the Prairie Printmakers. He was elected an Associate of the prestigious National Academy of Design in 1938, and a full Academician in 1941. Wengenroth was also the author of several influential books on lithography.
Mr. Wengenroth was an American artist and lithographer, born in Brooklyn, New York. Wengenroth was once called "America's greatest living artist working in black and white" by the American realist painter Andrew Wyeth, and he is generally considered to be one of the finest American lithographers of the twentieth century. He studied at the Art Students League of New York from 1923 to 1927, then at the Grand Central School of Art. The artist lived and worked for many years on Long Island and then moved to Rockport, Massachusetts. He is renowned for his carefully wrought scenes of the New England seacoast-- craggy rocks, lighthouses, boats and the sea.
During his career, Wengenroth became well known for his detailed depictions of the seascapes and landscapes of New England and, in particular, Maine.
As an artist, he eschewed color in his lithographs but rather focused on shadow, light, and form to transmit detail and dimension. While his urban scenes of Manhattan and the New York City environs are especially coveted by the current market, Wengenroth was most adept at creating sincere yet vivid representations of the New England shoreline and interior.
Wengenroth was elected a member of the American Academy of Arts and Letters) in 1942 and was also a member of the Connecticut Academy of Fine Arts and the Prairie Printmakers. He was elected an Associate of the prestigious National Academy of Design in 1938, and a full Academician in 1941. Wengenroth was also the author of several influential books on lithography.
NEIL WELLIVER (1929-2005)
Mr. Welliver was an artist and educator born in Millville, Pennsylvania. He earned a B.F.A. at the Philadelphia College of Art in 1953, and an M.F.A. from Yale in 1955. Welliver taught at Cooper Union in New York; Yale School of Fine Art; Swarthmore College and the University of Pennsylvania; and frequently served as a visiting lecturer to the events of other institutions.
While teaching at Yale, Welliver's painting philosophy evolved from abstract color field painting to the realistic transcription of small-town scenes in watercolor. In the early 1960s he went to Maine, where he began painting figures outdoors, the large oil paintings often focusing on nudes in nature. In 1970 he moved permanently to Lincolnville, Maine and by the mid- 1970s the figure as subject had given way to the exclusive study of landscape.
Welliver is most known for his large-scale paintings of the Maine woods. The artist's “realistic” representations often were processes, having commenced as plein aire oil sketches, painstaking painted in the intimate Maine landscape, and finished in his studio as bold 8 x 10 feet of canvas renderings with edges full of movement. His style has been described as having a “Thoreau-like combination of the pragmatic and the spiritual.”
Welliver’s work can be found in many prestigious public museums including the permanent collections of The Metropolitan Museum, Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of American Art. He was also the subject of over seventy one-person exhibitions.
Mr. Welliver was an artist and educator born in Millville, Pennsylvania. He earned a B.F.A. at the Philadelphia College of Art in 1953, and an M.F.A. from Yale in 1955. Welliver taught at Cooper Union in New York; Yale School of Fine Art; Swarthmore College and the University of Pennsylvania; and frequently served as a visiting lecturer to the events of other institutions.
While teaching at Yale, Welliver's painting philosophy evolved from abstract color field painting to the realistic transcription of small-town scenes in watercolor. In the early 1960s he went to Maine, where he began painting figures outdoors, the large oil paintings often focusing on nudes in nature. In 1970 he moved permanently to Lincolnville, Maine and by the mid- 1970s the figure as subject had given way to the exclusive study of landscape.
Welliver is most known for his large-scale paintings of the Maine woods. The artist's “realistic” representations often were processes, having commenced as plein aire oil sketches, painstaking painted in the intimate Maine landscape, and finished in his studio as bold 8 x 10 feet of canvas renderings with edges full of movement. His style has been described as having a “Thoreau-like combination of the pragmatic and the spiritual.”
Welliver’s work can be found in many prestigious public museums including the permanent collections of The Metropolitan Museum, Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of American Art. He was also the subject of over seventy one-person exhibitions.
NORMAN WEST
A native of southern New Hampshire, Mr. West has painted since the age of 8 and began receiving formal training soon after. He studied at Plymouth State College and holds a BFA from the Portland School of Art. While experimenting with making his own paint while in his early high school years, West discovered his love for color and to this day his deep respect for it remains the foundation for his art.
In any discussion about his philosophy and technique, West will state with conviction that color is the most important medium in a work of art. "The structure of color that makes a painting work is what I am concerned with." His bold acrylic depictions regularly surprise visitors with unexpected paint choices and combinations. He has said of his works, "The colors are all in there. My interest is in using ... colors to create an equivalent to nature, not a copy of nature."
West is an energetic member of the local art community. He is Co-Curator of the Ogunquit Arts Collaborative and a board member of the Ogunquit Art Association. Since he is an enthusiastic colorist and proficient at teaching the physics of color in art, he has been a popular teacher at numerous local workshops and also Heartwood College of Art. West is listed in Who's Who in American Art and has exhibited in many shows throughout the Northeast and in Europe.
JAMES WHISTLER (1834-1903)
James Abbott McNeill Whistler, the son of a railway engineer, was born in Lowell, Massachusetts, but throughout his life he pretended to be a Southern gentleman. He was, in most imaginable ways, self-invented. Whistler was a moody child prone to fits of temper and insolence, who—after bouts of ill-health—often drifted into periods of laziness. His parents discovered early that drawing often settled him and helped focus his attention.
After moving to St. Petersburg, Russia for his father's work, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Fine Arts at age eleven. Years later following failure from West Point, Whistler left for France where at the age of twenty-one he was accepted by the Parisian art community as no American painter before him had been. As a young man, he worked with Gustave Courbet. He enjoyed the respect of Édouard Manet and Edgar Degas, and became a leading figure in the Aesthetic Movement.
A prolific painter, Whistler believed that art should concentrate on the arrangement of colors, and that belief led many art historians to see his work as a precursor of abstract art. In addition, Whistler was a gifted engraver producing numerous etchings, lithographs and dry-points. Of these, the main characteristics are "precision and vivacity; freedom, flexibility, infinite technical resource, at the service always of the most alert and comprehensive observation."
A native of southern New Hampshire, Mr. West has painted since the age of 8 and began receiving formal training soon after. He studied at Plymouth State College and holds a BFA from the Portland School of Art. While experimenting with making his own paint while in his early high school years, West discovered his love for color and to this day his deep respect for it remains the foundation for his art.
In any discussion about his philosophy and technique, West will state with conviction that color is the most important medium in a work of art. "The structure of color that makes a painting work is what I am concerned with." His bold acrylic depictions regularly surprise visitors with unexpected paint choices and combinations. He has said of his works, "The colors are all in there. My interest is in using ... colors to create an equivalent to nature, not a copy of nature."
West is an energetic member of the local art community. He is Co-Curator of the Ogunquit Arts Collaborative and a board member of the Ogunquit Art Association. Since he is an enthusiastic colorist and proficient at teaching the physics of color in art, he has been a popular teacher at numerous local workshops and also Heartwood College of Art. West is listed in Who's Who in American Art and has exhibited in many shows throughout the Northeast and in Europe.
JAMES WHISTLER (1834-1903)
James Abbott McNeill Whistler, the son of a railway engineer, was born in Lowell, Massachusetts, but throughout his life he pretended to be a Southern gentleman. He was, in most imaginable ways, self-invented. Whistler was a moody child prone to fits of temper and insolence, who—after bouts of ill-health—often drifted into periods of laziness. His parents discovered early that drawing often settled him and helped focus his attention.
After moving to St. Petersburg, Russia for his father's work, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Fine Arts at age eleven. Years later following failure from West Point, Whistler left for France where at the age of twenty-one he was accepted by the Parisian art community as no American painter before him had been. As a young man, he worked with Gustave Courbet. He enjoyed the respect of Édouard Manet and Edgar Degas, and became a leading figure in the Aesthetic Movement.
A prolific painter, Whistler believed that art should concentrate on the arrangement of colors, and that belief led many art historians to see his work as a precursor of abstract art. In addition, Whistler was a gifted engraver producing numerous etchings, lithographs and dry-points. Of these, the main characteristics are "precision and vivacity; freedom, flexibility, infinite technical resource, at the service always of the most alert and comprehensive observation."
GRANT WOOD (1891-1942)
The American painter Grant Wood was one of the major Regionalists, a group of painters who in the 1930s employed a variety of naturalistic styles for a subject matter that was obviously American in content. Wood was an active painter from an extremely young age until his death, and although he is best known for his paintings, he worked in a large number of media, including lithography, ink, charcoal, ceramics, metal, wood and found objects.
In 1923 Wood journeyed to France like many American artists before him to learn technique. While at the Académie Julian he studied the work of Bonnard, Sisley and Pissarro, and the paintings he did during this period were not surprisingly in an impressionistic manner. It wasn't until on another trip to Europe a few years later while doing research for an important stain-glass commission that he showed admiration for the works of the German and Flemish Old Masters, an event that is said to have been a major turning point in his career. Abandoning the Impressionist style, Wood adopted the extreme Realist style of the fifteenth and sixteenth century Flemish school. Contrary to the French painting influences he implemented earlier, Wood began working with a tighter brushstroke and a darker color palette. His most memorable and recognizable works followed his return from Germany.
CHARLES WOODBURY (1864-1940)
Born in Lynn, Massachusetts, Mr. Woodbury while a young undergraduate at Massachusetts Institute of Technology, became the youngest member of the Boston Art Club . After graduation in 1886 from MIT with degree in Mechanical Engineering, Woodbury had great success painting up the New England coast and in the towns and beaches of Nova Scotia and exhibiting the results. From January to June 1891 he was a pupil of the Académie Julian in Paris, after which he went to Holland, where he studied the techniques of the modern Dutch painters. Upon his return to New England he settled in Boston for his winter studio and spent his summers in the small fishing village of Ogunquit, Maine. There he founded one of the most successful of the summer art colony schools where he was one of the most sought after teachers of his generation.
Woodbury maintained a strong and consistent vision in his more than fifty years of professional life and became a master of compositions of the coast and sea. His many on-the-spot sketches and etchings produce a sense of motion through quick, sure-handed strokes, many which he transfers to canvases. Seeing and understanding movement was fundamental to his art and teaching, and is reflected in his own maxim: “Paint in verbs, not nouns." He died on January 21, 1940 in Jamaica Plain, Massachusetts.
Woodbury engaged in over 100 solo exhibitions throughout his career, and was included in all of the major invitational and juried shows throughout the country. His work may be found currently in The Art Institute of Chicago, The Museum of Fine Arts, Boston, and New York’s Metropolitan Museum of Art among many others.
The American painter Grant Wood was one of the major Regionalists, a group of painters who in the 1930s employed a variety of naturalistic styles for a subject matter that was obviously American in content. Wood was an active painter from an extremely young age until his death, and although he is best known for his paintings, he worked in a large number of media, including lithography, ink, charcoal, ceramics, metal, wood and found objects.
In 1923 Wood journeyed to France like many American artists before him to learn technique. While at the Académie Julian he studied the work of Bonnard, Sisley and Pissarro, and the paintings he did during this period were not surprisingly in an impressionistic manner. It wasn't until on another trip to Europe a few years later while doing research for an important stain-glass commission that he showed admiration for the works of the German and Flemish Old Masters, an event that is said to have been a major turning point in his career. Abandoning the Impressionist style, Wood adopted the extreme Realist style of the fifteenth and sixteenth century Flemish school. Contrary to the French painting influences he implemented earlier, Wood began working with a tighter brushstroke and a darker color palette. His most memorable and recognizable works followed his return from Germany.
CHARLES WOODBURY (1864-1940)
Born in Lynn, Massachusetts, Mr. Woodbury while a young undergraduate at Massachusetts Institute of Technology, became the youngest member of the Boston Art Club . After graduation in 1886 from MIT with degree in Mechanical Engineering, Woodbury had great success painting up the New England coast and in the towns and beaches of Nova Scotia and exhibiting the results. From January to June 1891 he was a pupil of the Académie Julian in Paris, after which he went to Holland, where he studied the techniques of the modern Dutch painters. Upon his return to New England he settled in Boston for his winter studio and spent his summers in the small fishing village of Ogunquit, Maine. There he founded one of the most successful of the summer art colony schools where he was one of the most sought after teachers of his generation.
Woodbury maintained a strong and consistent vision in his more than fifty years of professional life and became a master of compositions of the coast and sea. His many on-the-spot sketches and etchings produce a sense of motion through quick, sure-handed strokes, many which he transfers to canvases. Seeing and understanding movement was fundamental to his art and teaching, and is reflected in his own maxim: “Paint in verbs, not nouns." He died on January 21, 1940 in Jamaica Plain, Massachusetts.
Woodbury engaged in over 100 solo exhibitions throughout his career, and was included in all of the major invitational and juried shows throughout the country. His work may be found currently in The Art Institute of Chicago, The Museum of Fine Arts, Boston, and New York’s Metropolitan Museum of Art among many others.
STANLEY W. WOODWARD (1890-1970)
Massachusetts artist Stanley Wingate Woodward was greatly influenced and deeply inspired by the natural beauty of his native New England. Born north of Boston in the town of Malden, he is associated with the artist colony of the coastal village of Rockport. Though a skilled printmaker and illustrator, he was primarily known as a painter, using oils and watercolors to depict vibrant seascapes. The artist was also a popular instructor in the Ringling Art School and Laguna Beach School of Art and Design as well as his own Woodward Outdoor Painting School. Although not confirmed it is believed that he likely was a student of Charles Woodbury in Ogunquit earlier in his career.
The artist was an accomplished and serious professional. He worked as an illustrator for Collier's and Ford Times magazines. He authored two notable books, Adventures in Marine Paintings (1948) and Marine Painting in Oil and Watercolor (1961) and was accordingly exhibited widely in university and college museums as well as many important public institutions. He was also a member of the prestigious American Watercolor Society and the Salmagundi Club.
Woodward's paintings can be found in the permanent collections of National Museum of American Art, Museum of Fine Arts (Boston), The Brooklyn Museum of Art, and the Fogg Art Museum among many others.
WILLIAM ZORACH (1889-1966)
William Zorach, was an American sculptor and painter who was born in Lithuania. His family immigrated to the United States when he was four and settled near Cleveland. After studying at the Cleveland School of Art and the National Academy of Design, New York City, Zorach spent two years in France studying at the La Palette. These years abroad would turn out to be quite fruitful because in Paris he was greatly influenced by the Cubist and Fauvist movements and had several paintings exhibited at the Salon d'Automme.
Shortly after his return to the United States, he took up permanent residence in New York and soon after married his wife Marguerite, herself and accomplished artist whom he met while in France. Zorach career evolved and flourished, and he was awarded his first one-man show for his paintings in New York. Shortly after both he and his wife’s work was accepted into the famous 1913 Armory Show. In 1922 William turned permanently from painting to sculpture. Without formal training in this field he evolved a personal and monumental style that placed him among the foremost sculptors of his day. Carving mainly in stone and in wood, he is known for the simplicity and solidity of his forms.
In 1923 Zorach bought a farm in Maine, where he and his family would spend their summers. He continued to sculpt and was soon recognized as one of the country's premier artists, honored with multiple commissions throughout the country and exhibitions at the Art Institute of Chicago, the Dallas Museum of Fine Art, the McNay Art Institute, and the Whitney Museum of American Art, among others. Today his work can be found in such prestigious museums as the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago, the Boston Museum of Fine Art, the Los Angeles Museum of Art, the Brooklyn Museum and the Cleveland Museum of Art.
Massachusetts artist Stanley Wingate Woodward was greatly influenced and deeply inspired by the natural beauty of his native New England. Born north of Boston in the town of Malden, he is associated with the artist colony of the coastal village of Rockport. Though a skilled printmaker and illustrator, he was primarily known as a painter, using oils and watercolors to depict vibrant seascapes. The artist was also a popular instructor in the Ringling Art School and Laguna Beach School of Art and Design as well as his own Woodward Outdoor Painting School. Although not confirmed it is believed that he likely was a student of Charles Woodbury in Ogunquit earlier in his career.
The artist was an accomplished and serious professional. He worked as an illustrator for Collier's and Ford Times magazines. He authored two notable books, Adventures in Marine Paintings (1948) and Marine Painting in Oil and Watercolor (1961) and was accordingly exhibited widely in university and college museums as well as many important public institutions. He was also a member of the prestigious American Watercolor Society and the Salmagundi Club.
Woodward's paintings can be found in the permanent collections of National Museum of American Art, Museum of Fine Arts (Boston), The Brooklyn Museum of Art, and the Fogg Art Museum among many others.
WILLIAM ZORACH (1889-1966)
William Zorach, was an American sculptor and painter who was born in Lithuania. His family immigrated to the United States when he was four and settled near Cleveland. After studying at the Cleveland School of Art and the National Academy of Design, New York City, Zorach spent two years in France studying at the La Palette. These years abroad would turn out to be quite fruitful because in Paris he was greatly influenced by the Cubist and Fauvist movements and had several paintings exhibited at the Salon d'Automme.
Shortly after his return to the United States, he took up permanent residence in New York and soon after married his wife Marguerite, herself and accomplished artist whom he met while in France. Zorach career evolved and flourished, and he was awarded his first one-man show for his paintings in New York. Shortly after both he and his wife’s work was accepted into the famous 1913 Armory Show. In 1922 William turned permanently from painting to sculpture. Without formal training in this field he evolved a personal and monumental style that placed him among the foremost sculptors of his day. Carving mainly in stone and in wood, he is known for the simplicity and solidity of his forms.
In 1923 Zorach bought a farm in Maine, where he and his family would spend their summers. He continued to sculpt and was soon recognized as one of the country's premier artists, honored with multiple commissions throughout the country and exhibitions at the Art Institute of Chicago, the Dallas Museum of Fine Art, the McNay Art Institute, and the Whitney Museum of American Art, among others. Today his work can be found in such prestigious museums as the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago, the Boston Museum of Fine Art, the Los Angeles Museum of Art, the Brooklyn Museum and the Cleveland Museum of Art.