Category Archives: Art

Call out for vendors

Hi all:
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The Magnolia Historical Society is having another Art in the Schoolhouse in April. If you are interested in becoming a vendor please follow the link below
http://www.loveislivinginmagnolia.com/

Click on the More tab and register for the show. Also please fill out the attached Inventory Sheet. mhs_artshow2017inventorysheet

If you need more information please let me know and I can help. This event is always fun and successful.

Thanks kids

Delightful illustration course at Rocky Neck Cultural Center: award winning children’s book author illustrator, fine artist and Film Animator ANNA VOJTECH

What an opportunity to learn from someone in the top of the field! Tuesdays with Anna Vojtech begins March 14th and continues weekly through May 2.
Anna Vojtech is a fine artist and an award winning children’s book illustrator and writer living in Gloucester. She grew up in Prague, Czechoslovakia, what is now the Czech Republic. She studied art and film animation at the Art Academy in Prague, in Antwerp, Belgium, and in Hamburg, Germany. 
In 1971 Anna moved with her husband to Canada where she worked at the National Filmboard and for various film companies in Montreal. Her work in film animation led her to children’s book illustration.
Since 1979 Anna has worked with major publishing houses (“The First Strawberries” by Joseph Bruchac, Dial/Penguin, “Tough Beginnings” by Marylin Singer, Henry Holt & Co, “Over in the Meadow” by Olive Wadsworth, North-South Books (now Simon & Schuster), “Ten Flashing Fireflies” by Philemon Sturges,  and many others).
She became also known for her stunning botanical paintings, published by Crown Publishers as “Wild Flowers for All Seasons”.
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For the last 18 years Anna has been living with her family in Gloucester, painting and illustrating in her Cripple Cove Studio. She is happy to live on Cape Ann and to share her life and art with the community. 
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Rediscovered Artist: seeking information on Arthur William Wilson (1892-1974) also known as ‘TEX’, WINSLOW WILSON and PICO MIRAN active NYC, Rockport, Gloucester

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Winslow Wilson, Squall Coming, photo http://www.winslowwilson.com

 

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Pico Miran (Arthur Winslow Wilson), Merry-go-Round, photo http://www.winslowwilson.com

Granddaughter Claudia Wilson-Howard writes Good Morning Gloucester seeking any information, biographical “tidbits”, or recollections about fine artist Winslow Wilson who resided in Gloucester and had studios in Gloucester and Rockport ca. 1946-1972.She is working on an excellent project: a digital resource about her grandfather.

I am the granddaughter of Winslow Wilson,” she writes, “an artist who spent most of his life on Cape Ann, painting under two names in two studios.  One studio, in Gloucester, the second in Rockport, and a member of the Rockport Art Association from 1946-1972, he was an active member of the art community. I have developed a website (www.winslowwilson.com), which is a work in progress.  I am attempting to develop as detailed a biography as possible, and was hoping …to reach out to the community to help gather any tidbit of information. Thank you very much!” 

Perhaps a reader of this blog can help identify a sitter in one of Wilson’s stellar unidentified local portraits.

Arthur William “Winslow” “Tex” Wilson, also known as Pico Miran was an American artist–primarily a painter– born on July 20, 1892  in Brady, Texas. His family moved to Junction, TX, where he graduated from high school, also the address he used while attending Harvard. Wilson  was a veteran of the First World War (National Guard, AEF) deployed to France 1918-1919. He died November 18, 1974 in Miami, FLA.

At Harvard

Wilson transferred from Texas A&M University to  Harvard. Roy Follett his professor at Texas A&M described Wilson’s impact on him as “atomic”, possessed with a creative intellect that surpassed the teacher’s.  And then the unthinkable…

For Wilson, life changed punishingly July 4, 1912 as he accidentally and horrifically killed his fellow undergrad, a friend and co-worker Merle DeWitt Britten on the job, driving the streetcar that crushed him. Wilson left Harvard, then came back. He skipped classes. At times he soared. He was a writer and editor of The Harvard Monthly  literary magazine with an impressive group of multi talented peers and friends: ee cummings; John Dos Passos; critic Gilbert Seldes; poet (Pulitzer prize winner) Robert Hillyer; poet (later Director MA Historical Society) R. Stewart Mitchell; Scofield Thayer*; and  James Sibley Watson*.

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Arthur Wilson undergraduate writing published in The Harvard Montly

The Harvard Monthly was founded in 1885 and ceased publication in 1917, its aim “to publish the best (undergraduate) articles, fiction and verse by students in the University.”  The words  “and verse” were added after E.E. Cummings gave their class commencement speech in 1915 on “The New Art” extolling contemporary expressions in music, the visual arts, and literature. “What really brought down the house was Gertrude Stein’s Tender Buttons,” he’d later say about this bit in the speech:

“unquestionably a proof of great imagination on the part of the authoress, as anyone who tries to imitate her work will discover for himself. Here we see traces of realism, similar to those which made the “Nude Descending a Staircase” so baffling. As far as these “Tender Buttons” are concerned, the sum and substance of criticism is impossible. The unparalleled familiarity of the medium precludes its use for the purpose of aesthetic effect. And here, in their logical conclusion, impressionistic tendencies are reduced to absurdity. The question now arises, how much of all this is really Art? The answer is: we do not know. The great men of the future will most certainly profit by the experimentation of the present period. An insight into the unbroken chain of artistic development during the last half century disproves the theory that modernism is without foundation; rather we are concerned with a natural unfolding of sound tendencies. That the conclusion is, in a particular case, absurdity, does not in any way impair the value of the experiment, so long as we are dealing with sincere effort. The New Art, maligned though it may be by fakirs and fanatics, will appear in its essential spirit to the unprejudiced critic as a courageous and genuine exploration of untrodden ways…how much of all this is really Art? The answer is: we do not know. The great men of the future will most certainly profit by the experimentation of the present period.” – ee cummings 1915 

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ee cummings portrait of Thayer, printed in the Dial

*The Dial was founded by James Sibley Watson and Scofield Thayer. Emily Sibley Watson, Founder of Memorial Art Gallery in Rochester was friends with Marianne Moore

1917 NYC apartment with Cummings

Wilson and e.e. cummings (1884-1962) were roommates at Harvard, friends who hit the town. (There’s one story with them caught at a prostitute’s apartment.) They remained friends enough to room together more and carouse Greenwich Village. Thanks to $1000 from Thayer, Cummings joined Wilson in New York at 21 East 15th Street in 1917.

There are striking parallels, comparisons, and secrets in the lives they led. Both men were artists and writers that had tragic and shattering life experiences, and estranged and scandalous family stories.

According to Virginia Spencer Carr‘s 1984 biography of John Dos Passos, Dos Passos envied these two: “Wilson was already signing his paintings (when he signed them at all) “Winslow Wilson” and Dos Passos surmised (when?) that he would be recognized eventually for his stunning portraits and seascapes. He was convinced that Cummings was too assured a reputation as a painter and saw Dudley Poore as the best poet of the lot from Harvard who aspired to a career in letters.” 

All three enlisted in WW1. Cummings signed up for the volunteer ambulance corp along with Harvard chums Hillyer and Dos Passos. Cummings ended up a POW and wrote a novel about the experience, The Enormous Room. Cummings said he was a self-taught painter, helped along by friends from Harvard. Did he sign up for classes in New York? Where did Wilson study art in New York before WW1?

(Incidentally, Gertrude Stein was also a volunteer camion; it seems like a ‘who wasn’t?’ roster. The majority of the 3500+ drivers came from ivy league schools, especially Harvard. The American Field Service (AFS) ambulance unit grew to be the largest and was founded by Gloucester’s own A. Piatt Andrew in 1915, after helping out the year before.)

1920s

After the War, Wilson was in New York and abroad in Paris, and London (infamously). There was a blink of a marriage and divorce from Elizabeth Brice, and a daughter Caroline, a dancer, that he never saw again. At 34, Wilson and his  19 year old girlfriend Winifred Brown abandoned a baby. It was an international scandal. Wilson’s family stepped up and his brother Ernest raised the boy as his own. It was four decades before the baby learned about his biological parents. I know these wincing details because that boy, H Robert Wilson, is a good writer and did the research.

Arthur Wilson signed his paintings as “Winslow” Wilson, which fits as a wink at Homer. Seascapes as a subject. Private solitary life. It also works as a visual swapping out of “Tex” for East Coast “Winslow”. The initials become double letters (like e.e. cummings), and nearly a double name, minus one letter and there’s an anagram of Wilson. It’s even a  way to differentiate his name ‘Arthur Wilson’ from other artists and writers with the same name(s), initials (AW or the comic Aww), and friends. Winslow Wilson is decidedly not Edmund Wilson (though like many writers he credits “nearly everything” about his sources of style as a painter to him), artist Edward Arthur Wilson, artist Arthur Wilson (UK), artist Arthur Wilson (LA), artist Edward Adrian Wilson, to name a few.

Mostly, Wilson using “Winslow” seems a deliberate break from his traumatic past: living with the death of his friend, letting his family down, fighting in WW1, divorce, scandal, family secrets, and that difficult ee cummings portrait poem about him.

ca. 1922 ee cummings poem ‘Arthur Wilson’

E.E. Cummings poem “Three Portraits” (I. Pianist  II. Caritas  III. Arthur Wilson) is published in the modernist magazine the Broom: An International Magazine of the Arts, Volume 2, Number 4, July 1922. Founded and backed not nearly enough by Harold Loeb and Alfred Kreymborg, the Broom publication was a short lived (1921-24) modernist monthly featuring  “unknown, path-breaking” writers and artists (reproductions, original designs, translations). The cummings poem ‘Arthur Wilson’ was illustrated with woodcuts by Ladislaw Medgyes.  The issue’s cover design was by Fernard Leger;

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Cover design by Fernard Leger, Broom, Volume 2 No. 4, July 1922

 

Picasso, Modigliani and William Gropper drawings were reproduced inside.

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The text for III. Arthur Wilson follows (refer to the image for the visual spatial break in cummings prose).

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III. Arthur Wilson
as usual i did not find him in cafes, the more dissolute atmosphere
of a street superimposing a numbing imperfectness upon such peri-
grinations as twilight spontaneously by inevitable tiredness of flang-
ing shop-girls impersonally affords furnished a soft first clue to
his innumerable whereabouts          violet logic of annihilation demon-
strating from woolworthian pinnacle a capable millenium of faces
meshing with my curiously instant appreciation exposed his hiber-
native contours,
aimable immensity impeccably extending the courtesy of five o’clock
became the omen of his prescience          it was spring by the way
in the soiled canary-cage of largest existence.

(when he would extemporise the innovation of muscularity upon the
most crimson assistance of my comforter a click of deciding glory
inflicted to the negative silence that primeval exposure whose elec-
tric solidity remembers some accurately profuse scratchings in a
recently discovered cave,           the carouse of geometrical putrescence
whereto my invariably commendable room had been forever subject
his Earliest word wheeled out on the sunny dump of oblivion)

a tiny dust finely arising at the integration of my soul i coughed

, naturally.
-E.E. Cummings

Like The Harvard Monthly and The Dial, Broom contributors were or would become recognized luminaries: Sherwood Anderson, Guillaume Apollinaire, Hans Arp, Conrad Aiken, Kenneth Burke, Robert M Coates, Jean Cocteau, Malcolm Cowley, Hart Crane, Adolph Dehn, Andre Derain, Raoul Dufy, Paul Eldridge, T S Eliot, Wanda Gag, Robert Graves, Juan Gris, William Gropper, George Grosz, Rockwell Kent, Paul Klee, Fernand Leger, Lipchitz, El Lissitzky, Amy Lowell, Louis Lozowick, Marianne Moore, Henri Matisse, Amedeo Mondigliani, Laszlo Moholy-Nagy, Pablo Picasso, Man Ray, ‘Charles Sheeler, Gertrude Stein, Joseph Stella, Wallace Stevens, Paul Strand, Max Weber, William Carlos Williams, and Virginia Woolf among other  artists and writers.

It was a small world and circle. The Broom contributors likely read that ee cummings poem about Wilson, and several knew both men. Names carried over from the Harvard-Dial network (Amy Lowell, Marianne Moore).

EE Cummings published Part III in later editions by the title “as usual I did not find him in cafes” omitting Arthur Wilson’s name.

1924 e.e. cummings visits Gloucester

to see writer, friend and editor R. Stewart Mitchell (1892-1957) who had a home here. Stewart Mitchell was another Harvard alumni (1915) and former Harvard Monthly editor. His face inspired the nickname “The Great Auk”. How nice being friends with artist-writers.

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After serving in WW1, Mitchell was a managing editor and regular contributor for The Dial from 1919-21, then published poet. From 1928-1937 he was Managing Editor of the New England Quarterly journal, and from 1929- 57 an editor and Director of the Massachusetts Historical Society. On the Ma Historical Society seal : “It would hardly have done to compare the members of the Society to oxen, sheep, or birds … but bees had always had a good reputation for the sweetness and light of their honey and their wax. “– 1949 Stewart Mitchell

 

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Did  Cummings and Arthur W. Wilson come to Gloucester while attending Harvard or at other times in the 1920s to see Stewart? Was Cummings in Gloucester other years, decades? Did Wilson and Mitchell re-connect in Gloucester? John Sloan’s etching Frankie and Johnnie illustrates EE Cummings’ play HIM. Did Wilson interact with Stuart Davis in Gloucester or New York?

(Aside: In 1984 the play ViVa Cummings! opened in Gloucester under the direction of William Finlay and the New Stillington Players. Did they know Cummings had been here…)

1935

Wilson fails to update his Harvard alumni association requests. Here’s the 1935 entry:

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1951 ELEANOR ROOSEVELT VISITS EXHIBIT AT AAA, NYC

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Artist Winslow Wilson guiding Eleanor Roosevelt through his solo exhibition at Associated American Artists, June 4, 1951.   Photograph from http://www.winslowwilson.com

Wilson’s painting from the 1951 Contemporary American Artists exhibition at the Associated American Artists won the people’s choice award, and his solo exhibit in June was attended and written about by Eleanor Roosevelt in her nationally syndicated MY DAY column:

HYDE PARK, Sunday—At lunch last Friday I had a visit from Mr. Tatsukichiro Horikawa, who is over here from Japan on a trip studying the World Federation movement in different countries. He has visited Switzerland, Germany, France and England, as well as the United States, and he came to see me before in New York City; but he wishes particularly to come up to Hyde Park and place some flowers on my husband’s grave.

I was especially interested in talking to him because, like so many of the World Federalists, he felt that the United Nations was very inadequate. He felt one must bring about more unity—and particularly, if we were going to have any settlements in the Far East, there must be unity between Great Britain and the United States as well as the other nations in their policy.

I asked him if he did not think it was a good deal to expect to have a unified policy among 60 nations when the organization bringing them together had been in existence only six years. It seems to me it requires longer for people to understand how the other peoples think and feel. World federation might someday be possible, but not until people have had a greater length of time to find out about each other. One of the American World Federalist members had also written me saying that the federation must come first and then be followed by understanding. I think this begs the question of how you obtain the federation and how, having obtained it in name, you do anything practical with it.

In New York City on Thursday afternoon I went to see an exhibition of paintings of the sea done by Winslow Wilson, at the Associated American Artists Galleries on Fifth Avenue. This exhibition was arranged under the auspices of Greenwich House, toward whose support a portion of the proceeds of any sale will go.

Mr. Wilson told me he did not paint actually from a scene he was looking at, but from memory. He said he particularly liked to use the sea because it was to him a symbol of the stress and strife we were all going through at present; and still it had a kind of discipline and control which was what most human beings were striving for today and finding difficult of achievement. I found some of his paintings quite beautiful, and reminiscent of many seacoasts I have known. In certain ones the light made one think of tropical climates; in others the shores of Maine seemed to stand out. More often the sky and the sea were stormy, but the light was nearly always breaking through. Let us hope that out of this turbulent period of history the light will break through for all human beings.

The other day I was sent a little pamphlet written by Eloise R. Griffith on the national anthems and their origin. I think this will be of interest to a great many people who want to know a little more than the mere words of the songs which we hear sung so often.” – Eleanor Roosevelt

I am thunderstruck reading a portion of sales would benefit Greenwich House. Talk about an undercurrent.

1951 Post-Modern Manifesto in the same year as the AAA seascapes

 

“A complete study of Cummings should take penetrating account of his painting and drawing. And no estimate of his literary work can begin without noting the important fact that Cummings is a painter.” That’s the opener for Syrinx., a critique of Cummings by Gorham B. Munson published in Secession July 1923. “His first stimulus comes from the emotional and perceptive materials of his experience…Cummings has jabbed his pen into life, but he has also twisted it in the wound, and it is this twist of the pen that makes literature.” 

Knowing ee cummings facility with visual arts transforms how his poems read. He identifies both pursuits. The press announcement for Cummings appointment at Harvard in 1952 affirmed that he resided in New York City, writing and painting since the year 1920. It wasn’t that he sculpted marks–‘scratchings’- that could be seen as pictures in print,–it’s this charge when visual art and writing advance toward or basically obliterate media boundaries.

After reading Wilson’s 1951 Manifesto For Post-Modern Art published under his pseudonym Pico Miran, I felt a similar tug. For Wilson, when it comes to ideas and individuality, words and paint –and as many names and identities to match– matter.  Some of Wilson’s paintings could be shown alongside pages from ee cummings The Enormous Room.

There are takeaways and points one can make about this manifesto and painting series of Wilson. I can think of art I’d like to show together with this work.

Yikes, the thoughts about women! Here’s Wilson writing as Pico Miran in his Manifesto, emphasis on man apparently:

“But while he proposes to save the personal symbol, he must emphatically reject the conception of its privacy–a conception which he is compelled to regard as an effeminate misery: he cannot help thinking an almost unmanly exaggeration of the one bit of feminine make-up in every artist, here flouncing in absurd esthetic millinery, with coy desire for secretiveness, mysterious subjectivity, and vain feelings of cryptic superiority to the vulgar mass.” 

1951 Hidden, not lost

Wilson evidently maintained some contacts; note the supportive reviews by friends (Moore, Burke, Wheelock) later reprinted for his 1957 solo exhibit at Vose Galleries in Boston. Edward Alden Jewel, the New York Times critic, described Wilson as “living a hidden life of pure dedication and drudgery” in his 1951 NYC AAA review.

2015 Found. A great teacher

On Cape Ann, Wilson taught figurative painting through the Rockport Art Association, which he joined in 1946. Wilson is recollected as a dazzling teacher who could bring out the best in his students. One student’s 2015 recollection is a must read:  “Bing McGilvray of the Cape Ann Museum was fortunate to communicate with a local artist familiar with Wilson, Betty Lou Schlemm.”  Wilson sounds like the famous and captivating professors at Harvard.   Another unforgettable piece about Wilson’s biography concerns a local exchange between Pico Miran and Peter Anastas following a 1954 review by the latter.

For local readers, the www.winslowwilson.com website helpfully provides some Gloucester addresses associated with Wilson.

  • June 21, 1951: Bradford Building, 209 Main Room 208, Gloucester, MA
  • August 1, 1951: Marine Basin, E. Gloucester, MA
  • June 18, 1952: Bradford Building, 209 Main Room 208, Gloucester, MA
  • July 26, 1955: Bradford Building, 209 Main Room 208, Gloucester, MA
  • 1967 maybe 195 Main Street, Gloucester, MA
  • 1969 maybe 195 Main Street, Gloucester, MA
  • June 2, 1971: PO. Box 414, Gloucester, MA

Also:

21 Est 15th Street, 154 East 39th Street, Carnegie Hall, 3 Washington Square North in Greenwich Village, Woodstock, N.Y., and Lime Rock, CT.

Leigh Slingluff show at Lone Gull Coffeehouse until February 28th

Lone Gull Coffeeshop 146 Main Street, Gloucester, MA, stands out with local art. Two dynamite mini solo shows are currently on view:

One exhibit features 20 oil paintings, acrylic paintings and gouache drawings by fine artist, Leigh Slingluff. Slingluff works on Cape Ann and resides in Rockport. You may have seen her award-winning painting on exhibit during Cape Ann Plein Air or in the seArts Art Loan @Bass Rocks annual exhibit.

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Paintings by William (‘Bill’) A. Travis are also on view www.watravis.com along the brick gallery wall.

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Lone Gull maintains a sign up sheet for 2 featured art exhibits monthly. They have begun booking into 2018 (although scattered months with 1 wall may still be available)

Bob Stephenson’s painting is on permanent display.

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Lone Gull gives space to various art books and an entry peppered with local current notices, too.

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Artist Carol Kriekis hand painted Gloucester designs

Thanks to the Holiday Delights Youth Acting Program at Gloucester Stage, I had the lucky chance to spend some time with artist Carol Kriekis. I thought her home and studio were a perfect reflection of her warmth and style, elegant and layered like an Aesthetic Movement interior. Kriekis works in different media, mostly grounded in representation. I saw series inspired by nature and renderings of flowers.

Recently she’s transformed her classic ‘Glosta’ and other Gloucester designs into oval stickers, each with some hand flourish.   The potential for art everywhere around us — stickers, hand painted–  that had me thinking about aestheticism, too. img_20161211_192842-2

Commission design for clients:

Photograph below shows some new branding design. There’s something coming this spring for Caffe Sicilia…No reveals, yet.

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Hockney Hartley Whitney Wilkins

“I like to live in the now.”

David Hockney’s exhibit opens at the Tate on February 9th as the fastest selling show in Tate exhibition history. It will come to the Metropolitan Museum of Art November 2017-February 2018.

In 2013 I wrote about “A major retrospective of David Hockney’s work completed over the last decade, A Bigger Exhibition (San Francisco, de Young Museum), has generated voluminous press and praise, mostly for his legacy of embracing new technology. Oh, and how old he is now, somehow compelling him to create before time runs out…(See a good overview of the de Young exhibit on Newshour but listen at 4:24 dispensing this cliché while introducing another. When hasn’t Hockney investigated any series, media or pursuit without daunting and constant focus?)”

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Marsden Hartley’s Maine will open at the The Met Breuer (former Whitney) March–June 2017. It will be at Colby (partnered with the Met) this summer. Cape Ann Museum has fantastic Hartleys.

The first Whitney Biennial presented at the new Whitney opens March 17 – June 11, 2017. Although there are no working artists residing in MA that are on the checklist, two artist filmmakers born in Massachusetts were selected: Robert Beavers and James N. Kienitz Wilkins.

Trash talk on twitter: Museum of Fine Arts Boston Patriots vs Atlanta’s High Museum #MuseumBowl plus Smocks and Jocks Fine Art Super Bowl auction

MFA highlight Thomas Sully (American (born in England), 1783–1872) The Passage of the Delaware, 1819

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MFA  John Singleton Copley (American, 1738–1815) Mrs James Warren (aka Mercy Otis-Patriot, writer), ca.1763

High Museum collection: Richard Misrach (American, born 1949) Untitled #892-03 photograph, 2003

Check out the museums’ twitter accounts @mfaboston vs @HighMuseumofArt. For more fine art and football see

Super Bowl weekend super fundraiser: Smocks & Jocks

The National Football League Player’s Association (NFLPA) held the 12th annual ‘Smocks and Jocks’ Fine Art Auction and Jazz Brunch featuring art created by active and former NFL players (and others). The benefit raises money for the Gene Upshaw Player Assistance Fund.

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@NFLPA  functional pottery by Chris Cooley @thecooleyzone

“Our players are so many different things…The original thought was to create an opportunity for former players to come to the Super Bowl in a more relaxed atmosphere and to show a different side of the professional athlete by them being able to display their art.”

video below caption: Super Bowl XLVII  (2013) Washington Redskins Andre Collins interview- time stamp at 2:20 pans through 2013 auction items

 

 

Ceramic art patterned after Minnesota Lakes by hall of fame Carl Eller–former defensive end Minnesota Viking star– was commissioned for the new Vikings US Bank Stadium.

“Carl Eller provides artwork for new Vikings Stadium” youtube clip below

And for Craig Kimberly – Baron Batch (Bansky of the NFL) and fellow former Steeler teammate John Malecki founded Studio A.M.  Gallery in Pittsburgh

Flashback: visiting Clark Museum to see Bierstadt’s Puget Sound on loan from the Seattle Art Museum thanks to the Patriots Super Bowl XLIX win. (If Seattle Seahawks won, Homer’s West Point Prout’s Neck in the Clark would have gone west.)

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Another fun event at Sand to City

Have you wanted to learn how to paint your own piece of furniture and learn the basic techniques of chalk paint? Join this workshop to help you get it done.  Students learn the basic techniques of one-two color distressed finish with chalk type paint and waxing and distressing techniques. Bring your own small piece of furniture and we will help you transform it into a beautiful vintage piece.

Students will leave confident to tackle any project at home.

We supply all of the materials and professional guidance to teach you all you need to know to create a fabulous finish!!

We will provide adult beverages and snacks
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Jeff Weaver and his studio-gallery

I saw Jeff in his gallery on Saturday on my walk so I went in to say hello. As usual I was very impressed with the work hanging on the walls so I hurriedly took photos of what I could while he was busy talking “ skies in the different seasons in Gloucester” with a group of people. If you look at the photos please realize his work is much better than the photos of his work. His gallery is at 16 Rogers Street in Gloucester . Email is jweaverart@hot mail.com and website http://www.jeffweaverfineart.com

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Cape Ann Art Haven Lobster Trap Tree Buoy Auction at Cruiseport

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Caffe Sicilia

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Sound Harbor info@soundharbor.org to sign up or hear more about their teaching programs

 

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360 panorama if your camera has this option

Live: Beauport Hotel hosts Cape Ann Reads jury selection panel

How cool is that? Thank you Beauport Hotel for this community support. What a gorgeous venue and fitting locale for this work! Cape Ann Reads is led by the 4 public libraries of Cape Ann. Deliberations for the first ever Cape Ann Creates for Cape Ann Reads Picture Book Contest are in process and underway!

 

 After a year of monthly programming by the libraries and community partners, the Cape Ann Reads contest is in full swing. Cape Ann residents of all ages, students attending school on Cape Ann, and people who work on Cape Ann were invited to create part or all of a picture book for consideration to be published.  A first edition printing of one of these submissions will be published in 2017, timed to coincide with the 75th anniversary of a Caldecott award for the children’s book, Little House, by Virginia Lee Burton, eminent Gloucester artist, author and illustrator. 
To read more about the jurors, please follow this link
Here is the link to the Cape Ann Reads website. 

Opportunities to contribute or sponsor the Cape Ann Reads contest are available.
Sponsors and contributions can boost awards that the jury panels may suggest as they complete their evaluations and determine recognition options.  Sponsor contribution opportunities could include prizes to  artists and writers, underwriting the publishing, and any exhibitions and readings to be held after publication in all the communities.

  • Various sponsorship, naming and friend levels
  • Juried award sponsor (2 prizes $500 each and up to 8 $100 each)
  • honorable mentions, awards, certificates and prizes (varies)
  • Exhibitions/Readings (at least one at each library)

Thank you, Beauport Hotel!

LOREN DOUCETTE STUDIO: Classes 2017

~DRAWING instruction with a LIVE MODEL:

Finding the Marriage between Structure and Feeling

All Levels

Every THURSDAY   9:30am – 12pm 

 

~PAINTING Instruction

WATERCOLOR and ACRYLIC

Fundamentals and Expression with Still Life

All Levels

Every Monday 9:30am – 12pm

 

@ Ten Pound Studio:1 Center Street 3rd Floor

$160/ every four classes plus shared model free

CONTACT:

lorenadoucette@gmail.com

978-879-6588

$463,141: City Council okays 14 CPA grants for 2016. Info meeting for 2017 application February 8th

Congratulations to the 2016 (round 7) awardees!  Their final presentations were at City Council on Tuesday.

 

Since Gloucester voted to approve the Community Preservation Act (CPA) in 2008, the city has administered 7 rounds of funded projects throughout our community. Have a look at who you helped fund in 2016

  1. North Shore CDC and Action, Harbor Village *missing this photo but great presentation!
  2. Cape Ann Amateur Radio Association, Wheeler School House & GFD Riverdale Hose, No 2
  3. Mt. Pleasant Cemetery, Civil War Monument
  4. Generous Gardeners, Stacy Boulevard Gardens
  5. Stage Fort Park Advisory Committee, Welcome Center Renovations
  6. Community Development Dept., Stage Fort Park Beautification Project
  7. City Clerk’s Office, Archives Initial Storage Project, Phase I
  8. Oak Grove Cemetery, Oak Grove Cemetery continued restoration
  9. Gloucester Committee for the Arts, “Out of the Shadows: Gloucester’s historic Depression Era Mural” preserve & restore murals with refined project scope,discovery and schedule of work
  10. Historic New England, Beauport Museum, outer building roof replacement
  11. Sargent Museum, Preservation of porch, granite steps & retaining wall
  12. Gloucester Writers Center, Preservation of Maud/Olsen Library & GWC Archives
  13. Maritime Gloucester, Rehab & Restoration of the railway
  14. Friends of Burnham’s Field, Continued rehab of Phase I of Burnham’s Field Restoration

Safe bet you might know someone assisting one of these projects. Who else helps?  The volunteers on the Community Preservation Committee are fantastic: Catherine Bill Dugan, Catherine Schlichte, Henry McCarl, David Rhinelander, John Feener, Barbara Silberman, Heide Wakeman, Ellen Preston, and Scott Smith. There’s no break for this committee. From start to finish the process from an applicant’s perspective takes nearly a year. Depending upon the project, it will involve assistance from the Community Preservation Committee, City staff and various departments, City Council, City Council sub committees, and the administration.  Just as one round winds down, the next year’s process and round of applicants gears up. Visit the Community Preservation Committee page on the City website to learn more about the CPA and to see prior projects.

Save the date:The Community Preservation Committee will be hosting an information meeting for prospective 2017 applicants at Sawyer Free on  February 8, 2017 at 6pm. Applications are due April 17, 2017.

Debbie Laurie, a Senior Project Manager in the Community Development Department who manages Grants and CPA for the City writes about the info meeting: “We want to help guide applicants through the process and answer any questions you may have before filling out an application.  We can also determine if your project is actually eligible or not.  Please pass the word around if you know of anyone that may be interested. “

Winter Cabin Fever Market

magnolia-library-cabin-fever

Here is a list of vendors who will be participating at this show:

Melissa Cox Soaps
Sand to City Style
Premier Imprints
Erin Pequeno Stone Designer
Diane Saunders, Represent Lularoe
Criadh Morrison – Roberts, Edible Art Cookie Creations
Paula and Emma Sanders, hand painted greeting cards
Lisa Ann Schraff, India Hicks styling and jewelry
Amy Hunt, Watercolors
Cape Ann Animal Aid
Donna Ardizzoni – Photography
Lizzi Harrington, Rodan and Field’s Skincare
Stephanie Vanderbilt, coastal and window and exteriors
City Adams, Memory Quilt
Scott from the new Restaurant Press
Pauline Bresnahan, Pauline’s Gifts
Kylee Foote, Herbalist

This event will be covered in a live feed broadcast by Kory Curcuru for The Magnolia Library’s Bridge Page

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