Tag Archives: Art

Sizing up more details

June 17, 2017 stage review — preparation continues.

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(and how it looked June 8, 2017)

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St. Peter’s Fiesta 2017 poster with traditions and…Ravioli eating contest! Cape Ann Big Band! The volunteers are so amazing and on top of things; see next year’s dates printed along the bottom margin of  the poster.

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Rusty+Ingrid Creative Company Moves to Rockport!

The grand opening for Rusty+Ingrid Creative Company’s new digs in Rockport continues through Sunday. Don’t miss the chance to stop by and see their work in their new studio and gallery. Their prints are vibrant, original, and completely handmade (including the frames). Also, they’re offering popcorn in different flavors. Who knew chocolate-drizzled popcorn was delicious? Not me.

The good news is that if you miss the grand opening, you can just stop by during regular gallery hours, or check them out in Boston at SoWa on Sundays, or find them online (especially their very cool Instagram).

Rusty + Ingrid Creative Company Grand Opening

Having Rusty and Ingrid relocate to Rockport is a great asset to the burgeoning makers and artists’ scene in town, and Rockport is truly lucky to have them right on Main Street. The space is live/work, so the entire family is making Rockport their home — another way they’re investing in the community. More and more downtown Rockport merchants are also Cape Ann residents, which has obvious implications for the level of investment our local merchants make the community. This shift is making a huge difference in town, and good things are happening all over. That is, if summer ever shows up and the MBTA doesn’t shut down the train.

Ingrid, looking as cool as that infused water.

 

oh Motif No.1..you never looked better

Maine gets in on the action

 

All the store fixtures were designed and built by Rusty and Ingrid

 

front of the shop with the studio in the back

 

The print studio

 

Fun with chalk

 

turns out that chocolate drizzle on popcorn is pretty awesome.

 

 

the view from Main Street

 

Rusty and Ingrid

Reminder 2 chances this week | Meet multi-award winning filmmaker, writer, MacArthur Grant fellow, and Academy Award nominee John Sayles at Cape Ann Community Cinema!

Growing up in Schenectady, NY, John Sayles didn’t have an art theater in his hometown, but we do. Sayles himself will be here to present 2 movies 2 nights in a row at Cape Ann Community Cinema 22 Main Street, Gloucester MA!

BUY TICKETS FOR WEDNESDAY 7:30PM

 

John Sayles The Thin Yellow Line

BUY TICKETS FOR THURSDAY 7:30pm

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What if Edward Hopper couldn’t take the train? MBTA train closure mitigation forum June 5 City Hall Gloucester

MBTA Mitigation Public Forum June 5 at 6:30pm in Gloucester City Hall-Kyrouz 2nd floor

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One of the most celebrated and beloved American artists of the twentieth century, Edward Hopper, frequently traveled by public rail from New York to Gloucester. Usually it’s fairly simple to experience Gloucester as Hopper and other notables did–by train and on foot. Hopper walked to lodgings just a short jaunt from the train station in downtown Gloucester and to the many sites he sketched and painted. The result was more than 110 works of art, including views of the Annisquam River Bridge to Cape Ann, the boarding house in downtown where he stayed, the railroad gates, and numerous other subjects still visible.

Today, the MBTA route that Hopper took not only serves weekday commuters, but brings visitors to this historic port. Trains connect New England history, the arts, and natural beauty. Summer or winter, trains make it easy to reach a beach, historical site, or favorite restaurant, to get out of the bustle and enjoy lingering in our coastal towns. They offer a real allure, crossing some of the most incredibly scenic vistas of our special New England landscape, and seasonally charming riders.

There’s no question that planned closures in the busiest of seasons will have negative impact for commuters and visitors. Desperate infrastructure needs will regrettably impede long lasting economic developments tied to Massachusetts’ cultural assets, out door recreation opportunities, and other attractions. The necessary closures do offer an opportunity to think about how to increase MBTA ridership including promoting New England’s historical, artistic and natural riches–MBTA as “Massachusetts’ green go-Between for the Train and Arts scene.”

photo captions: There are more than 110 Edward Hopper works of art inspired by Gloucester, MA. Four reference trains: that’s how he rolled. Above Untitled Edward Hopper drawing in the collection of the Whitney Museum of American Art (catalogue “Landscape with Bridge.”) It is Gloucester, MA. I hope the new bridge design can add a little yellow bridge house reference. Below: Allegra Boverman, Gloucester Daily Times,  2012.

Sign up for city notices like this News Flash from Chris Sicuranza, Office of the Mayor Romeo Theken, posted on May 30, 2017:allegra

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Motif No. 1 Day 5K and Festival THIS Saturday!

Rockport’s going to be a happening place on Saturday, with the Rockport Elementary School Motif No.1 Day 5k & Fun Run kicking off at 9am, immediately followed by the Motif No. 1 Day Festival!

Tons of live music, great food, interactive art-making, a Seaside Circus, and a Rockport Art Colony pop-up art exhibit are all taking place right downtown from 11 to 7pm. Just outside the downtown area the YMCA’s Ben Beyea Youth & Teen Center celebrates its 10th anniversary with a party from 10:30 to 1pm with activities and food so good stuff is taking place throughout Rockport! Eastern Point Lit House is hosting an Open Mic for writers, and there will be plenty of opportunity to make art, whether as part of the Sidewalk Chalk art event or contributing to the community mural.

The Schedule of Events:

 

The 2017 Commemorative Poster from Rockport artist David Arsenault:

Motif No.1 Day is organized by the community nonprofit Rockport Exchange. For more on the festival itself or how you can get involved, go to www.rockportexchange.org. See you in Rockport on Saturday!

Last chance: must see Andrew Manning exhibition at the Hive

Inhabitations is a beautiful exhibition and solid first show from this young artist, Andrew Manning at The Hive, 11 Pleasant Street Gloucester MA . The show was extended and is closing tomorrow. Several works have been sold. Manning teaches at Art Haven where you can reach him with any inquiries.

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What’s behind the papered windows: 120 Main Street reveal on May 13th

After major renovations to 120 Main Street, HUDSON GALLERY joins a great strip of businesses downtown. The ambitious inaugural exhibition features MJ Caseldon (sound sculpture) and Donna Caseldon (painting). Scroll down to see images of their art work and here’s a link to the Press release for the two person show.

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2017 Call for Applications for Gloucester’s 5th POET LAUREATE is OPEN!

APPLICATION DEADLINE IS JUNE 9

Links for: 2017 Poet Laureate application (digital format) or 2017 Poet Laureate application (PDF format submit 5 copies).

The City of Gloucester’s Committee for the Arts announces the release of the 2017 Call for Applications for the four year position of Gloucester Poet Laureate. 

The position of Gloucester Poet Laureate is dedicated to building community through poetry and encouraging a love of poetry among people of all ages.  The position was most recently held by the late Peter Todd, appointed in 2014.  During Peter’s time as Poet Laureate, he generously shared his talents with his beloved City of Gloucester. 

Under City Ordinance, the process to select the Poet Laureate is administered by the Committee for the Arts and will involve a Selection Panel including representatives from the local literary community thanks to Eastern Point Lit House and The Gloucester Writers Center.  A recommendation from the Selection Panel will be forwarded to the Committee for the Arts for review and then forwarded on to the Mayor for nomination, subject to confirmation by the City Council.

The Call for Applications is available for download at the Committee for the Arts page on the City website: http://gloucester-ma.gov/index.aspx?nid=102.  Copies also are available at the Sawyer Free Library, the City of Gloucester Mayor’s Office, Eastern Point Lit House, the Gloucester Writer’s Center, and other locales.  Applications must be submitted by 12 pm on Friday, June 9th , 2017. Contact Judith Hoglander, Committee for the Arts with any questions.

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Of the 226,000 North Shore jobs, how many do you think arts and culture?

In 2014, the Massachusetts labor force was 3,570,000 (vs 3,626,800 in February 2017 ); and the North Shore accounted for 6.3%. Yesterday, the US Dept of Commerce Bureau of Economics announced the state by state breakdown of arts and culture employment –for the first time ever– based on the 2014 national data. MA arts and culture jobs were reported to be 128,350, and 3.6% total MA labor. Various reports overlap categories. Sometimes “Health and education” are packed together or “arts, entertainment, recreation and leisure”. In MA top industries such as Financial services (20%), Technology, Medicine and Life Sciences, Manufacturing, Fishing, and Tourism (125,000–note how similar in size this is to the arts and culture jobs) are discussed.

Massachusetts Work Force and Labor Area Review (2015). pp44-45North Shore from MA Workforce and labor area review 2015

MA industries 2015

2015 report

2014 employment by major industry sector

 

US Dept of Commerce Bureau of Economic Analysis reports the following MA stats: “The states with the highest concentration of arts and cultural jobs, with their location quotients: New York (1.47), Wyoming (1.30), Washington (1.28), California and Utah (both 1.17), Rhode Island and Colorado (1.13), Alaska (1.11), Massachusetts and Oregon (both 1.09)…The Location Quotient (LQ) is a measure of an industry’s concentration in a state or region relative to the industry’s national concentration. • As for compensation, in 2014 Massachusetts and NEFA had an LQ of 1.02 and 0.94 respectively. • In 2014, Massachusetts had a location quotient of 1.09 for ACPSA employment. In Massachusetts, therefore, ACPSA employment was 9 percent above the national average. By comparison, the LQ for arts-and-cultural employment in all states belonging to the U.S. regional arts organization NEFA (of which MA is a member) was 1.03 or 3 percent above the national average.

MA 2014

In the news: Congratulations Kurt Lichtenwald for leading Gloucester High School robotics and engineering program and students to another recognition–this one national! And those smart Monnells…

Well deserved. See wonderful story by Ray Lamont in today’s Gloucester Daily Times: GHS Engineering program wins national award, Photo by Mike Springer shows Kurt with students Austin Monnell and Conor Williamson.

NATIONAL AWARD FOR EXCELLENCE FROM THE INTERNATIONAL TECHNOLOGY AND ENGINEERING EDUCATORS ASSOCIATION  

TEACHER EXCELLENCE AWARD 

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It’s close to Kurt’s 20th anniversary at Gloucester High School. Here’s a throwback photo I took in February 2012 at East Gloucester Elementary. Kurt brought the high school students in to the elementary school to lead science and robotic stations for all the kids. He told me then about his approach:

“For too long; students who could memorize facts were considered highly intelligent. In my classes students must learn to apply the knowledge and prove that they learned the topics. This is a different kind of intelligence (kinesthetic – hands on intelligence)  that for so long has gone unappreciated and unrecognized.  Mixing the two types of intelligences (multi level) in a class just makes common sense and great products (student work).”-Kurt Lichtenwald

 

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Paprika Grill wants to feature local Gloucester artists

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Emrah Arslan the owner of Paprika Grill wants to help area artists by featuring solo exhibits. He and his customers will have the chance to see what’s happening in the community, sip some tea and appreciate art in this  casual new hopping Mediterranean spot. Arslan’s art is…the food.

Paprika Grill will select the art. Exhibits will change every few months. Three months is a nice long time to have your work on display. To be considered for a sign up sheet rotation, interested artists should email Arslan with 3 or 4 examples.  He’ll let you know if you’re in the queue. “I keep hearing Gloucester has a lot of artists.”

photo caption: Interior views of Paprika Grill and approximate 14′ length of available wall space. (The mirror and items can be rearranged.) 

 

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Paprika Grill,  185 Washington Street, Gloucester, MA

Scenes and sounds from Cape Ann Symphony 65th Anniversary season Romantic Masters concert

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We were told that yesterday’s Cape Ann Symphony’s 65th Anniversary Season concert “Romantic Masters” was the orchestra’s most sold out March concert, ever. Great job, Heidi Dallin, on promotion!

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My son spotted Heidi’s name in the playbill and Yellow Sub, along with many other local names and arts supporters. It takes a village.

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By the way– kids tickets are $5 at these concerts. Area schools benefit from Cape Ann Symphony performance outreach.

Cape Ann Symphony’s next concert is: SCANDINAVIAN SPECTACULAR Saturday, March 20, 2017 8PM

Before setting off into the next piece, Musical Director & Conductor Yoichi Udagawa breaks down a mini music lesson excerpt with the orchestra. He has a signature foot lift when he conducts.

 

Here’s a snippet of glorious music. Can you name that tune?

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Scenes from Mothers and Daughters art opening at Jane Deering Gallery

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Prior post with press release and more info “Prepping for Mothers and Daughters curated by Juni Van Dyke and Jane Deering Gallery 

Featuring
Juni Van Dyke | Paige Farrell
Mathilde Iervolino | Bobbi Iervolino Kovner
Jane Crotty | Anne Marie Crotty
Esther Moss Proctor | Eliza Proctor
Constance Rhinelander | Mary Rhinelander McCarl
Helen Burgess | Valerie Sadler

see more photos from Juni

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Art from Kristen Visbal Fearless Girl and Arturo Di Modica Wall Street Bull to Morgan Faulds Pike, Anna Hyatt Huntington, Judith Sargent Murray, Rusty + Ingrid, and Willow Rest

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Photo by Federica Valabrega. Temporary public art bronze sculptures: Kristen Visbal Fearless Girl installed for International Women’s Day March 8, 2017 faces off  Arturo Di Modica’s Charging Bull installed December 15, 1989. Fearless Girl was commissioned by State Street Global Advisory Stuart Weissman and part of McCann’s creative campaign

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Robert D. McFadden coverage in the New York Times about the Wall Street Bull by Arturo Di Modica the day after it was stealthily installed (and removed then reinstalled, evermore)

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Morgan Faulds Pike, Gloucester Fishermen’s Wives Memorial, Gloucester MA

 

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The Fisherman’s Memorial screen print by Rusty + Ingrid Creative Company on the cover and featured in North Shore Magazine’s April 2017 issue– which also includes articles on Cape Ann’s iconic sculptors, plus Manchester by the Sea and filming on Cape Ann

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October 2013 Willow Rest, 1 Holly Street, Gloucester, MA, window filled with Rusty and Ingrid Kinnunen screenprints –the first time I saw their work. I love how so many stores and restaurants feature creative arts. This one is a great case study and success story for creative exposure.

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Sargent House Museum, 49 Middle Street, Gloucester, MA. Judith Sargent Stevens Murray (1751-1820)

 

wikipedia art feminismLook for Wikipedia-edit-a-thons (especially this week surrounding International Womens Day)  encouraging everyone to add content and push women to be contributors. No previous Wikipedia experience is necessary –training help at the events or editing Instructional videos at your convenience

The day after Oscars for Manchester by the Sea: Gloucester and Cape Ann shine at MPC MA film and media event at WGBH

Talk about timing! The topics for the fascinating Massachusetts Production Coalition (MPC) event held at WGBH were planned  in advance of any Academy Awards results. After a season of many accolades including the prior evening’s Oscars news, boy did that gathering buzz. Conversations sparked with local names, industry folks, businesses and locales such as: Willow Rest, Pratty’s, local film folks, Gloucester Stage, Israel Horovitz, Kenneth Lonergan, local police, Rt 128, and the Cape Ann Chamber of Commerce.

The two featured presentations were Legendary Entertainment’s Matt Marolda on analytics in film, followed by a Meg Montagnino-Jarrett led panel discussion on the making of Manchester by the Sea.

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Manchester by the Sea behind the scenes panel discussion led by Meg Montagnino Jarrett, MPC winter event 2017 at WGBH. Projected photograph illustrates jobs on the movie such as the Unit Stills photographer on Manchester by the Sea, Claire Folger

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Massachusetts Production Coalition reception at WGBH

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wardrobe Manchester by the Sea – requests for Pratty’s t-shirts

 

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L-R: Meg Montagnino-Jarrett (Film Liaison Cape Ann) facilitated panel: Carolyn Pickman (casting director), Alex Berard (Location Manager) and Kai Quinlan (not pictured/ also Location manager), Ryan Johnson(Lead Man), Joanna Murphy (Asst Costume Designer), Joe Boreland (not pictured)

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Matthew Marolda, Legendary Entertainment, presentation at MPC winter 2017 event WGBH Boston

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Matthew Marolda from Legendary Entertainment, featured presentation on film and analytics at 2017 MPC winter event held at WGBH

 

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Chris O’Donnell MPC update (slide shows Massachusetts Film Set Day at the State House in the Hall of Flags (brought the local movies production jobs to the statehouse)

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MPC sponsors, MPC board president opening remarks

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Gloucester in the Boston Globe and at the Oscars: a win for Pratty’s and Casey Affleck for Manchester by the Sea

Meg Montagnino-Jarrett great job working with the filmmakers!

Pratty’s CAV bar

Kevin Cullen Boston Globe article.

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Another location from the film and winter, winter, winter

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Dec 19 2016

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 begin March 28th (new dates announced)  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.

ee-cummings-pencil-portrait-of-stewart-mitchell

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

 

poems-by-stewart-mitchell

 

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:

harvard-class-of-1915-printed-1935

1951 ELEANOR ROOSEVELT VISITS EXHIBIT AT AAA, NYC

roosevelt-visits-aaa

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.

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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