Tag Archives: Rockport Art Association

Larry O’Toole Amazing map and Historic murals at O’Maley School #GloucesterMA

Five monumental Larry O'Toole paintings circa 1948- reinstalled O'Maley School circa 1971 - Gloucester MA DPW crew Mike Hale, Joe Lucido, Phil Curcuru, Mike, and John inspecting 2018 wit

photo above- Five monumental Larry O’Toole (1909-1951) paintings circa 1948 were rescued and reinstalled O’Maley School circa 1982. Gloucester MA excellent DPW crew Mike Hale, Joe Lucido, Phil Curcuru, Mike, and John inspecting 2018 with ©c ryan.  Thank you DPW! City art is routinely checked. Photo by Phil Curcuru below- note the artist’s distinct “L” signature

Larry O'Toole signature photo by Phil Curcuru Gloucester MA DPW  #5 installed at O'Maley painting pre dates 1951.jpg

If you haven’t seen the series of five murals painted circa 1945 by fine artist and muralist, Larry O’Toole (1909-1951), that were rescued and installed (decades ago) at O’Maley Innovation Middle School, perhaps you’ve noticed a poster of his brilliant pictorial map around Cape Ann.

O’Toole published editions of the map in 1947 and 1948. Reproductions of “A Salty Map of Cape Ann: Gloucester-Magnolia-Rockport-Pigeon Cove-Lanesville-Bay View-Annisquam” the 1948 blue version are available at Cape Ann Museum shop.  The delightful map includes inventive and intricate details and local nods: a shout out to Ben Pine’s* wharf, “All maps like this have a sea serpent;” schooners like the Henry Ford and Gertrude Thebaud (again Pine); historic sites and characteristic scenes not to miss “Artists and Seagulls”; and upcoming landmarks to look forward to like the Annisquam Bridge slated for completion in 1950. The numbered border framing elements could have been inspired by Virginia Lee Burton.close up zoomable map (sold) can be found here 

 

Gloucester, Massachusetts Capt. Ben Pine, the man who raced the schooner Gertrude Thebaud against the Canadian schooner Blue Nose for the fisherman trophy, one of the three men who made

Ben Pine office, 1941, Howard Liberman FSA/OWI photograph

Ben Pine* portrait by FSA/OWI photographer, Howard Liberman, titled “Gloucester, Massachusetts. Capt. Ben Pine, the man who raced the schooner “Gertrude Thebaud” against the Canadian schooner “Blue Nose” for the fisherman’s trophy, is one of the three men who made Gloucester. The others were Tom Carrol and Ray Adams.” (author’s note: Ray Adams was a gal so the compliment is for two men and one woman…).

Art can be seen on the walls throughout the Gloucester Mariner’s Association in Howard Liberman’s faint photos from 1941. I’m looking for more interior shots. Some of the art could be O’Toole’s, who completed commissions for Pine.

Carved fish models at the Gloucester’s Mariners Association (Fishermen’s Institute)

Howard Liberman FSA photo Gloucester Mariners Association.jpg

 

Rockport Art Association & Museum’s Experimental Group Opens Eighth Show…in Gloucester!

Jeff Grassie_Entrapment_ 20x30_ sculpture

PRESS RELEASE 
What: Unexpected No. 8 Exhibit – www.experimentalartgroup.com 
featuring Rockport Art Association & Museum artists and contributing members
When:  
April 2-April 30, 2018
Reception Saturday April 7, 5-7 pm
Where: NOTE VENUE Rockport Art Association & Museum’s Experimental group show at Charles Fine Art Gallery in Gloucester, 196 Main Street, Gloucester, MA

The Rockport Art Association & Museum’s Experimental Group opens its eighth group exhibition, “Unexpected No. Eight” at Charles Fine Arts Gallery, 196 Main Street, Gloucester, MA 978.559.7762.  This juried show features artworks of both the RAA&M’s artists and contributing members. Works on view in the exhibition range in medium to include paintings, mixed-media, graphics, sculpture and photography.  The exhibition runs from April 2 through April 30, with an Artist Reception on Saturday, April 7 from 5-7 pm. There will also be a gallery talk by Jeff Grassie held on April 12 at 7pm.  Gallery hours are Tuesday through Sunday, 1-5 pm or by appointment. Closed Monday.

The Experimental Group is a creative forum, its main mission is to increase public awareness and to foster self-expression by bringing artists together to explore and share ideas that cultivate creative freedom. The EG is encouraged and supported by the Rockport Art Association & Museum. 

If you would like more information about the exhibition, would like to schedule an interview and a walk through, or need additional promotional images please contact: Nella Lush, Experimental Group, Chair, 978.886.4582 or via email experimentalgroupraa@gmail.com 

Rockport Art Association & Museum, 12 Main Street, Rockport, MA 01930  (RAA&M) is one of the oldest and most active art organizations in the country. The Association has a long and distinguished history that has spanned 96 years.

 

Local photographer Steve Howard closes out Sawyer Free 2017 exhibitions

Last chance to catch the Steve Howard photography exhibition, December 2017, at Matz Gallery, Gloucester Lyceum & Sawyer Free Library, Gloucester, MA. Howard resides in Gloucester and is an exhibiting member of the Rockport Art Association.

contact: Steve.howard328@gmail.com
Photographer Steve Howard Sawyer Free exhibition December 2017 20171206_150525

 

 

Holiday markets and fairs |Annisquam Sewing Circle, Rocky Neck, Cape Ann Artisans, Rockport Art Association

save the date Reminders:

  • Annisquam Sewing Circle Christmas Fair, Satuday Dec 2 ONLY 8am-noon
  • Rockport Art Association – Cape Ann Artisans Dec 1 (4-9) & Dec 2 (10-5)
  • Rocky Neck 2017 Annual Holiday Show at the Cultural Center weekends through December 10th

Rocky Neck 2017 Holiday Show

“December in November–Giving the Gift of Art” Rocky Neck Art Colony members’ fine art and crafts sale, through December 10th, OPEN Fridays 5-8pm, Saturdays and Sundays 10AM-4PM. Downstairs is a beautiful John Nesta tribute.

photo caption: Orginal watercolor painting, Birch on the Neck, by Deb Schradieck, booth at the Rocky Neck Art Colony 2017 Annual Holiday members show

 

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Rockport Art Association

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TWO DAYS ONLY Cape Ann Artisans at the Rockport Art Association Friday December 1 and Saturday December 2nd (10-5). Cape Ann Artisans has also announced their special 2018 Cape Ann Artisan tour dates- June 2nd and 3rd and Oct 6-8

Cape Ann Artisans at Rockport Art Association

 

Annisquam Sewing Circle Christmas Fair

Sat Dec 2nd 8am-noon, 34 Leonard Street, Gloucester, MA 01930

  • Beautiful Wreaths to decorate your Home
  • Potted plants and bulbs to Give or to Keep
  • Elegant Table Arrangements
  • Gourmet Foods for your Guests and Family
  • Exquisite Hand-crafted Gift Items
  • $3 Grabs for Mom, Dad and your Favorite Pets wrapped and ready to go!

Annisquam Sewing Circle Flyer.png

 

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 

ee-cummings-drawing-portrait-of-sibley-for-the-dial

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.

gropper-the-top-box-broom-july-1922

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

ee-cummings-three-portraits-broom

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

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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.

In the news: Boston Globe 10 places to paint the town (or the beach, or the mountains) plein air recommendations

Happy to see Cape Ann included–thanks Cape Ann Chamber for putting up the flag.

Gloucester, Rockport, Manchester, and Essex are listed together under Cape Ann as a destination for plein air painting. I enjoyed reading and comparing. The first town listed, Jeffersonville, VT, has vivid detail. Cape Ann has history and scenery coming together at every turn.

I might have added that Cape Ann has been the home of the world class Cape Ann Museum, two renowned associations devoted to the advancement of art – the North Shore Art Association and the Rockport Art Association-, one of the country’s oldest continuously active and iconic art colonies on Rocky Neck, and scores of artists and galleries, because it is the number 1 place to paint.

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Cape Ann Artisans Holiday Show at the Rockport Art Association

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Join us as Cape Ann Artisans set up shop once again at the Rockport Art Association for their second Holiday Show!

We’ll be participating in “Shop Rockport” on Friday, December 4 from 4:00-9:00 PM at our shopping headquarters inside the Hibbard Gallery of the RAA. The show continues on Saturday, December 5 from 10:00 AM to 5:00 PM.

Gorgeous Works on Paper by American Realist Painter JEFF WEAVER

SIMPLY EXQUISITE ~Don’t miss this show!

Afternoon Light, Governor's Hill 528

Rockport Art Association

Jeff Weaver ~ Solo Exhibit

Opening Reception

Sunday, March 16, 2014, 2-4pm

Show runs through March 27, 2014

Artist Statement

“This show of works on paper consists of drawings in charcoal, pastel, and oil, as well as watercolor.
Some were done as sketches or studies for larger works, others as finished pieces in themselves.
The use of a variety of mediums helps me to take a fresh approach to familiar subjects””

Wharves in Snow 528

 

Oliver Balf Retrospective At RAA 5/11-6/9

May 11 to June 9

Opening Reception: Saturday, May 11, 5 to 7 p.m.

Rockport Art Association

The largest retrospective ever assembled of the late Oliver Balf’s work, representing more than 60 years of painting and selected from a newly archived collection of close to 1000 paintings, will be featured on May 11th at the Rockport Art Association in Rockport, Massachusetts. Included in the 40–plus works will be several of Balf’s early and rarely exhibited watercolors on loan from private collections.

For more information

www.rockportartassn.org

www.oliverbalf.com

Friday Night’s Bash at the RAA

The Rockport Art Association continued the celebration of its 90th year with the opening of the show “Outside In”, featuring the work of contemporary Cape Ann artists Gordon Goetemann, Ruth Mordecai and Jon Sarkin. An exhibit of exclusively contemporary works is unusual for the RAA, and the place was buzzing at Friday night’s opening. Here are just a few shots of a great night: (For more info on the show, click here.)

One of Gordon Goetemann's lyrical pieces.

The crowds parted for a Ruth Mordecai diptych

Curved interior walls created by Treetop Designs

Inside the circular installation of Jon Sarkin's work.

Check Out Jon Sarkin along With Goetemannn and Ruth Mordecai Tonight At Rockport Art Association


EXHIBITIONS ׀ EDUCATION ׀ MUSEUM

RAA celebrates it’s 90th anniversary in 2011!


The Rockport Art Association founded in 1921, one of the oldest and most
active art organizations in the country, offers something for everyone.
Visit us and discover the artistic and cultural splendor of Cape Ann.


Opening Reception Friday June 17th  ~ 6-8pm
Exhibition June 17th – July 19th
Open Free To The Public
Click here for more info . . .

Rockport Art Association FeatureEvent With Three Local Greats- Goetemannn, Mordecai and Our Boy Johnny Sarkin!!!


EXHIBITIONS ׀ EDUCATION ׀ MUSEUM

RAA celebrates it’s 90th anniversary in 2011!


The Rockport Art Association founded in 1921, one of the oldest and most
active art organizations in the country, offers something for everyone.
Visit us and discover the artistic and cultural splendor of Cape Ann.


Opening Reception Friday June 17th  ~ 6-8pm
Exhibition June 17th – July 19th
Open Free To The Public
Click here for more info . . .


Late Spring – Early Summer Hours
Monday thru Saturday 10:00 ~ 5:00
Sunday Noon ~ 5:00

Judy Robinson Show Rockport Arts Association

Made it to the Judy Robinson solo show at the Rockport Arts Association this Sunday amidst the rain. White wine, salmon on cucumber and cheese doodles that looked like popcorn, my kind of snacks.

Here are two in the show for a sneak peek. One had a sign underneath that said you could touch the artwork. The other said “Do Not Touch!” Which do you think? (Just Click.) Even if my hands weren’t covered in cheese doodles I would not have dared to try to peel off a paint chip … 8)

A cool show that will be there until the 26th. Lots of Fort Point, Birdseye, the Paint Factory. My birthday present is still hanging in the middle gallery. I might have to get a sump pump as a belated birthday present instead.

Rockport Art Association March 14th thru March 26th

I thought this would be of interest to Good Morning Gloucester since the Birdseye Building, the Paint Factory, Fort Square, and the Marine Railways are frequent subjects here:

Judy Robinson-Cox Solo Show
Endangered Spaces

The RAA is pleased to announce a Solo Show by award winning photographer Judy Robinson-Cox (judy.robinson-cox.com). Judy will exhibit a collection of photographic images and constructions called “Endangered Spaces” at the Rockport Art Association March 14th through March 26th.

This exhibition is about locations, buildings and moments in time that no longer exist, or are in danger of extinction. The majority of the photographs were taken in Cape Ann including the Birdseye Building, Fort Square, the Marine Railways and the Paint Factory. Judy employs a variety of photographic techniques to try and capture the essence of a place including traditional photography, digital photographic montages, photo books, cut-out three dimensional photographs, and montage collages.

Please join us for the opening reception on Sunday, March 14th 2-4pm. All are welcome!

Rockport Art Association 1960s Summer Dances

I was recently at the Rockport Art Association for the seARTS annual meeting.

As I headed back to the Art building in the back, old memories passed through my head.

Even though it was cold and rainy, the memories of warm summer nights, heading down to Rockport, to attend the RAA dances.   Back then it was a great opportunity for locals to meet kids from out-of-state, who were vacationing with their parents.  Some of those memories are another story. 

It was amazing that they trusted us in the beautiful surroundings of all that art.

This video clip shows some of the local art today, recommend going down and taking a look, and a clip of how teenagers danced in the 60’s.  If you recognize yourself in the video, you may want to keep it to yourself at least that is my intention.

Enjoy a blast from the past.

This video clip shows some of the local art today, recommend going down and taking a look, and a clip of how teenagers danced in the 60’s.  If you recognize yourself in the video, you may want to keep it to yourself, at least I am.

Enjoy a blast from the past.   (Note: video is from a dance at the GHS not at RAA)

Do Not Go To Rockport Art Association

The oldest art association in America opened it’s doors this weekend for another season. I’ve lived in Rockport for all of 17 months and I never stopped by until today. I knew there were some painters who were pretty good in Rockport but this place blew me away. Room after room of mesmerizing art.

Two killer treats. One, the Winter Group Show is just amazing. Want to feel the warmth of summer on Good Harbor Beach or a backlit green wave crashing at Andrew’s Point just walk through this gallery.

The other treat was in the back. Huge sunlit room and a dozen painters going at it. They were taking paintings which have been in the association for years and copying them. But copying is a cheap word for the works they were producing . One, a painter who was taking a shot at what his grandmother had painted 50 years before. To name names and explain would require 4,000 words so I am pulling the plug here.

Why do I want you to not go? Because my birthday present is still back there hanging on the wall. I need a second pass to decide as I narrow it down. So I do not want you or anyone else to visit the Rockport Art Association this week and steal my birthday present. That is unless you are dropping it off at my house on my birthday. Now it would be really dumb to say a Ray Crane and a Paul Ciaramitaro are the two I am zeroing in on. That is unless you rush down to get them for me.

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