#world famous paintings by rockwell kent

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Some of Europe’s best accepted art museums are reopening afterwards closing in March for the Covid-19 communicable but it will be far from business as usual.

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Amsterdam’s Van Gogh Building and the Rembrandt House additionally reopen this week. Dibbits says the accommodation to accessible Dutch museums is a amount of government policy.

“But I anticipate we all acquainted this was the time to accord the bodies of the Netherlands their museums back, which are so abundant loved. The Rijksmuseum is accessible with our accustomed hours although I anticipate for now there will not be abounding tourists.

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[justforbooks]

February 20, 1943 – The Saturday Evening Post publishes the first of Norman Rockwell's Four Freedoms in support of United States President Franklin Roosevelt's 1941 State of the Union address theme of Four Freedoms.

The Four Freedoms is a series of four 1943 oil paintings by the American artist Norman Rockwell. The paintings—Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear—are each approximately 45.75 inches (116.2 cm) × 35.5 inches (90 cm), and are now in the Norman Rockwell Museum in Stockbridge, Massachusetts. The four freedoms refer to President Franklin D. Roosevelt's January 1941 Four Freedoms State of the Union address in which he identified essential human rights that should be universally protected. The theme was incorporated into the Atlantic Charter, and became part of the charter of the United Nations. The paintings were reproduced in The Saturday Evening Post over four consecutive weeks in 1943, alongside essays by prominent thinkers of the day. They became the highlight of a touring exhibition sponsored by The Post and the U.S. Department of the Treasury. The exhibition and accompanying sales drives of war bonds raised over $132 million.

This series has been the cornerstone of retrospective art exhibits presenting the career of Rockwell, who was the most widely known and popular commercial artist of the mid-20th century, but did not achieve critical acclaim. These are his best-known works, and by some accounts became the most widely distributed paintings. At one time they were commonly displayed in post offices, schools, clubs, railroad stations, and a variety of public and semi-public buildings.

Critical review of these images, like most of Rockwell's work, has not been entirely positive. Rockwell's idyllic and nostalgic approach to regionalism made him a popular illustrator but a lightly regarded fine artist during his lifetime, a view still prevalent today. However, he has created an enduring niche in the social fabric with Freedom from Want, emblematic of what is now known as the "Norman Rockwell Thanksgiving".

Rockwell's Four Freedoms—Freedom of Speech, Freedom of Worship, Freedom from Want, and Freedom from Fear—were first published on February 20, February 27, March 6, and March 13, 1943 along with commissioned essays from leading American writers and historians (Booth Tarkington, Will Durant, Carlos Bulosan, and Stephen Vincent Benét, respectively). They measure 45.75 inches (116.2 cm) × 35.5 inches (90 cm) except Freedom of Worship which measures 46.0 inches (116.8 cm) × 35.5 inches (90 cm). Rockwell used live models for all his paintings. In 1935, he began using black-and-white photographs of these live models extensively, although he did not publicly reveal he did so until 1940. The use of photography expanded the possibilities for Rockwell who could ask models to pose in positions they could hold only for brief periods of time. He could also produce works from new perspectives and the Four Freedoms represented "low vantage point of Freedom of Speech, to close-up in Freedom of Worship, midrange in Freedom from Fear, and wide angle in Freedom from Want".

In 1939, Rockwell moved to Arlington, Vermont, which was an artist-friendly community that had hosted Robert Frost, Rockwell Kent, and Dorothy Canfield Fisher. Of the move from New Rochelle, New York, Rockwell said "I was restless ... The town [of New Rochelle] seemed tinged with everything that happened to me". In New Rochelle, he had both endured a divorce and run with a fast crowd. Artists John Atherton, Mead Schaeffer and George Hughes established residences in Arlington soon after Rockwell. The resident artists, Rockwell included, were mutually supportive and hired local citizens as their amateur models. Using photography and Arlington residents as models, Rockwell was able to capture what he referred to as "human-looking humans", who were generally working-class people, in an hour or so rather than hire professional models for the entire day. Rockwell paid his models modestly. Rose Hoyt, who was engaged for a total of three photographic sessions for Freedom of Speech and Freedom of Worship, earned $15 ($234.71 in 2019 dollars) for her sittings.

When the US entered the war in 1941, it had three agencies responsible for war propaganda: The Office of Facts and Figures (OFF), The Division of Information of the Office of Emergency Management (OEM), and Office of Government Reports (OGR). The OFF was responsible for commissioned artwork and for assembling a corps of writers, led by Librarian of Congress Archibald MacLeish. By mid-1942, the Office of War Information determined that despite the efforts of OFF in distributing pamphlets, posters, displays, and other media, only a third of the general public was familiar with Roosevelt's Four Freedoms and at most one in fifty could enumerate them. The Four Freedoms had been a "campaign to educate Americans about participation in World War II".

By 1942, Rockwell had been illustrating professionally for thirty years and was having a successful career. Additionally, by mid-1942 Rockwell's Gillis was becoming famous. Lorimer had been the editor of The Post from 1898 to 1936. He was followed by Wesley W. Stout for five years. In early 1942, Stout ran an article entitled "The Case Against the Jew", which led to advertising and subscription cancellations. The Post was rumored to be in financial trouble in 1942. Soon Stout was replaced by Hibbs who revamped the magazine.

On May 24, 1942, Rockwell was seeking approval for a poster design at The Pentagon because the Artists Guild had designated that he advocate for the U.S. Army Ordnance Department. Robert Patterson, who was then United States Undersecretary of War, suggested revisions. On the same day, he visited with Thomas Mabry of the Graphic Division of the War Department's Office of Facts and Figures, which coordinated war-themed posters and billboards. Mabry relayed the need for Four Freedoms artwork. Rockwell returned home pondering the Atlantic Charter, which had incorporated the Four Freedoms.

Rockwell remembered a scene of a local town meeting in which one person spoke out in lone dissent, but was given the floor, and was listened to respectfully, despite his solitary opposition. He was inspired to use this scene to illustrate Freedom of Speech, and Rockwell decided to use his Vermont neighbors as models for an inspirational set of posters depicting the themes laid out by Roosevelt the previous year in a Four Freedoms series. He spent three days making charcoal sketches of the series, which some sources describe as colour sketches. Rockwell's patriotic gesture was to travel to Washington, D.C. and volunteer his free services to the government for this cause. In mid-June, accompanied by Schaeffer, he took four charcoal sketches to Washington, where they stayed at the Mayflower Hotel, as the two sought commissions to design war art. During the trip, Rockwell was asked by the Boy Scouts of America to continue his annual creation of a new painting for their annual calendar by publishing representative Orion Winford. He was unable to hold Patterson's attention during their meeting, so he met with the new Office of War Information (OWI), where he was told "The last war you illustrators did the posters. This war we're going to use fine artists men, real artists."

On his return trip to Vermont with Schaeffer on June 16, they stopped in Philadelphia to meet with new Saturday Evening Post editor Ben Hibbs. Many accounts portray this visit as unplanned, but whether it was is unclear. Hibbs liked Rockwell's Four Freedoms sketches, and he gave Rockwell two months to complete the works. A June 24 correspondence from The Post clarified that both Rockwell's and Schaeffer's series would be published. By June 26, The Post's art editor James Yates notified Rockwell of plans for a layout of paintings with an accompanying essay or accompanying essays by President Roosevelt.

Rockwell's summer was full of distractions. At one point a Manhattan gastroenterologist prescribed a surgery of uncertain nature, though it was not performed. He had commissions for other magazines, and business complications regarding second reproduction rights. He also had his Boy Scout commitment. Under time constraints, Rockwell made every excuse to avoid all other distracting assignments. In October, The Post sent its art editor to Arlington to check on Rockwell's progress. At about the same time, despite its Graphics Division chief's, Francis Brennan's outrage, the OWI began showing signs of renewed interest. In fact, after Rockwell was chosen the entire OWI Writers' Division resigned. The press release associated with the resignation asserted that the OWI was dominated by "high-pressure promoters who prefer slick salesmanship to honest information. These promoters would treat as stupid and reluctant customers the men and women of the United States." There was further turmoil in the OWI from a faction supporting work by Ben Shahn; Shahn's work was not used in propaganda because it lacked general appeal. There were several artists who were commissioned to promote the war, including Jean Carlu, Gerard Hordyke, Hugo Ballin, and Walter Russell. Russell created a Four Freedoms Monument that was eventually dedicated at Madison Square Garden in New York City.

The series took seven months to complete, and was finished by year end. Supposedly, Rockwell lost 10 pounds (4.54 kg) from the assignment. As Rockwell was completing the series, he was motivated by news of Allied setbacks, a fact that gives the work a sense of urgency. Models included a Mrs. Harrington who became the devout old woman in Freedom of Worship and a man named Jim Martin who appears in each painting in the series (most prominently in Freedom from Fear). The intention was to remind America what they were fighting for: freedom of speech and worship, freedom from want and fear. All the paintings used a muted palette and are devoid of the vermilion Rockwell is known for.

Some sources published after Rockwell's death question whether the government was truly as discouraging as Rockwell claimed. They cite an encouraging April 23, 1943 correspondence with Thomas D. Mabry of the OWI (a former Executive Director of the Museum of Modern Art). At the time, the three government propaganda agencies were disjointed until they were unified under the OWI on June 13, 1942 by a Presidential Executive Order. Furthermore, the writers' division, led by MacLeish, was under pressure for failing to deliver a message intelligible to people of varying intelligence.

Upon completion, Rockwell's works were briefly exhibited at the West Arlington Grange before being delivered to The Post in Philadelphia. The series arrived in Philadelphia in January 1943. Roosevelt was shown the paintings in early February, and The Post sought Roosevelt's approval for the series of paintings and essays. Roosevelt responded with both a personal letter to Rockwell and an "official" letter of commendation to The Post dated February 10. Roosevelt instructed The Post to have the OWI have the essays translated into foreign languages so they could be presented to leaders at the United Nations.

The Freedoms were published in a series of four full-colour, full-page editions, each accompanied by an essay of the same title. The panels were published in successive weeks in the order corresponding to Roosevelt's speech: Freedom of Speech (February 20), Freedom of Worship (February 27), Freedom from Want (March 6), and Freedom from Fear (March 13). For the authors of the accompanying essays, Hibbs had numerous options given the number of regular contributors to The Post.

Rockwell is considered the "quintessential middlebrow American artist" by Michael Kelly. As an artist he is an illustrator rather than a fine arts painter. Although his style is painterly, his work is produced for the purpose of mass reproduction, and it is produced with the intent of delivering a common message to its viewers via a detailed narrative style. Furthermore, the vast majority of Rockwell's work was viewed in reproduced format and almost none of his contemporaneous audience ever saw his original work. Also, Rockwell's style of backwoods New England small-town realism, known as regionalism, was sometimes viewed as out of step with the oncoming wave of abstract modern art. Some say his realism is so direct that he abstains from using artistic license. John Canaday, a New York Times art critic once referred to Rockwell as the "Rembrandt of Punkin' Crick" for his aversion to the vices of big city life. Dave Hickey derided Rockwell for painting without inflection. Some critics also view his sentimental and nostalgic vision out of step with the harsh realities of American life, such as the Great Depression. Deborah Solomon views the works as being "based on lofty civic principles", but rather than dealing with the warring patriots, they present themes with "civic and familial rituals" for "emblematic scenes".

Post editor Hibbs said the Four Freedoms were an "inspiration ... in the same way that the clock tower of old Independence Hall, which I can see from my office window, inspires me." Roosevelt wrote to Rockwell "I think you have done a superb job in bringing home to the plain, everyday citizen the plain, everyday truths behind the Four Freedoms ... I congratulate you not alone on the execution but also for the spirit which impelled you to make this contribution to the common cause of a freer, happier world". Roosevelt wrote to The Post, "This is the first pictorial representation I have seen of the staunchly American values contained in the rights of free speech and free worship and our goals of freedom from fear and want." Roosevelt also wrote of the corresponding essays, "Their words should inspire all who read them with a deeper appreciation of the way of life we are striving to preserve."

The Four Freedoms are perhaps Rockwell's most famous work. Some have said Rockwell's Four Freedoms lack artistic maturity. Others have pointed to the universality of the Freedom of Religion as disconcerting to practitioners of particular faiths. Others complained that he idealized American life because by depicting wholesome, healthy, and happy sentiments, Rockwell depicted the good that was remembered or wished for, but by avoiding misery, poverty, and social unrest, he failed to demonstrate command of the bad and the ugly parts of American life. Rockwell's response to this criticism was, "I paint life as I would like it to be." Rockwell made it known that he hoped these would be his masterpieces, but was disappointed. Nonetheless, he was satisfied with the public acceptance of the series and that the series was able to serve such a patriotic purpose. Laura Claridge feels he might have achieved his ambition if he had pursued the "quiet small scenes" he later became known for.

Although all four images were intended to promote patriotism in a time of war, Freedom from Want, which depicts an elderly couple serving a fat turkey to what looks like a table of happy and eager children and grandchildren has given the idyllic Norman Rockwell Thanksgiving work as important a place in the enduring marketplace of promoting family togetherness, peace and plenty as Hallmark at Christmas. Some say the Four Freedoms were unable to live up to the role of "illustrating grandiose concepts with humble correlatives" because they are too loud.

The commercial success of the series was in part because each painting is considered to be a model of understandable art by the general public. The success of Rockwell's depictions was due to his use of long-standing American cultural values about unity and respect of certain institutions while using symbols that enabled a broad audience to identify with his images. This understandability made it one extreme on the scale of artistic complexity when comparing the series to contemporaneous art. It was diametrically opposed to abstract art and far removed from the intrigue of surrealism.

In 1999, the High Museum of Art and the Norman Rockwell Museum produced the first comprehensive exhibition of Rockwell's career that started at the High Museum on November 6, 1999, stopped at the Chicago Historical Society, Corcoran Gallery of Art, San Diego Museum of Art, Phoenix Art Museum, and Norman Rockwell Museum before concluding at the Solomon R. Guggenheim Museum on February 11, 2002. Although there has been a long history of Rockwell detractors, during this Norman Rockwell: Pictures for the American People touring exhibition attendance was record-setting and critical reviews were quite favorable. The nostalgia seemed to cause a bit of revisionism in the art world, according to The New York Times which said, "What's odd is the show's enthusiastic reception by the art world, which in a lather of revisionism is falling all over itself to embrace what it once reviled: the comfy, folksy narrative visions of a self-deprecating illustrator..."

Some found Rockwell's presentation somewhat patronizing, but most were satisfied. The New Yorker remarked two years later: "They were received by the public with more enthusiasm, perhaps, than any other paintings in the history of American Art". Claridge notes that the series is an example in which the sum is greater than its parts. She notes the inspiration comes in part from their cumulative "heft".

Following the 1943–44 War Bond Show, the Four Freedoms toured the country further by train in a specially-designed car. Through the 1950s the Four Freedoms hung in Hibbs' offices at The Post. Hibb retired in 1961 and by the time The Post was discontinued in 1969, Rockwell regained possession of the original paintings. Norman Rockwell bequeathed his personal collection in trust to the Norman Rockwell Museum in 1973 for the "advancement of art appreciation and art education". This collection included the Four Freedoms paintings. The works remained on exhibit at "The Norman Rockwell Museum at The Old Corner House" for nearly 25 years. In 1993, when the Rockwell Museum moved from its original location, the Four Freedoms were displayed in the new museum's central gallery. As of 2014, the Four Freedoms remain in the collection of the Museum. In 2011, the Williamstown Art Conservation Center did some work on the Four Freedoms, including reducing exposure to various elements and preventing further wear.

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From this anniversary that cardinal will be anxiously bound to 2,000 a day. But afterwards weeks of exceptionable cease the museum’s administrator Taco Dibbits is captivated to be reopening alike on a bound scale.

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Amsterdam’s Van Gogh Building and the Rembrandt House additionally reopen this week. Dibbits says the accommodation to accessible Dutch museums is a amount of government policy.

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“Every case is different, not aloof in the Netherlands, and we all accept to acquisition our own way to accommodate a safe acquaintance for visitors. I anticipate about all museums will ert visitors buy

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Rockwell Kent: Interior Decorator??

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Rockwell Kent is famous as an early American modernist painter, printmaker, illustrator, writer, sailor and adventurer. Like many artists he did commercial and decorative work in order to earn money and pay the bills. The Cooper Hewitt Library has some examples of this commercial work – designing dinnerware, murals, bookplates, and this interior design and color guide, illustrated with watercolors and photographs. The booklet is ultimately about selling and buying Sherwin-Williams paint and wallcoverings, but the narrative text reflects his philosophy on furnishing and decorating in a humorous anecdotal style. He built or fixed up houses to live in with his family all over the world and his goal was always to “First own a house. Then make that house be HOME.” Good architecture, good taste in decoration is what makes an honest, comfortable, and peaceful atmosphere. Having traveled extensively and seen all kinds of habitations- tents, caves, mansions and palaces, having slept in the King of Bulgaria’s bed in his many travels, style and period did not impress him, and he disdained modernism (chrome and steel).

Sherwin-Williams paint color chart.

The Cooper Hewitt Museum Drawings & Prints Department has drawings for interiors by Rockwell Kent (Drawing, Wall Elevation Design for Bedroom or Dressing Room, 1920s) and the Textiles Department has in its collection Rockwell Kent designed fabric (Textile, Harvest Time, 1949–50).

In this home decorator’s guide, Kent states that “Being a painter by profession and one in who in his work employs color for effect, I have shown a few color schemes that might, in their right place, be good to live with.” In a small abandoned house in Newfoundland: “Old lilac bushes stood around the house; their background was the bay; lilac and blue. The house pure white! The doors I painted peacock green all except one which, for the fun of it, I painted pink.”

L: Paint color schemes for home exteriors. P.17. R: Color schemes and design for living room interiors. P.6

This booklet offers color schemes for both interiors and exteriors, with paint color guides, and includes wallpapers produced by Sherwin Williams.

“The houses shown in this book may help a little, the color charts will help a lot, while the painting instructions printed on the last page of this book may be accepted, kept, and followed as the gospel of good practice in painting.”

  Elizabeth Broman is a Reference Librarian at the Cooper Hewitt Design Library.

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[halfpinthistorianblog]

June Historical Happenings in New York State

June 1, 1778—Cobleskill, NY destroyed by Joseph Brant, a Mohawk military leader, during the American Revolution.

June 1, 1797 – Convention between the State of New York and the Oneida Indians.

June 1, 1889—General Electric’s famous electrical engineer, Charles Steinmetz, arrives in US from Germany

June 2, 1980—Two-time Olympic gold medalists soccer player Abby Wambach is born in Rochester, NY.

June 2, 1935—Babe Ruth retires

June 3, 1621—The Dutch West India Company received a charter for New Netherland (now New York).

June 3, 1925—Actor Tony Curtis was born in the Bronx, NY.

June 3, 1968 --Valerie Solanas shot Andy Warhol in his studio, known as The Factory.

June 4, 1876—An express train called the Transcontinental Express arrives in San Francisco, California, via the First Transcontinental Railroad only 83 hours and 39 minutes after having left new York City.

June 5, 19689—New York Senator Robert Kennedy is assassinated

June 6, 1946—The Basketball Association of America is formed in New York City.

June 7, 1905—James Braddock, the boxer of Irish heritage known as “Cinderella Man”, is born in New York City.

June 7, 1939 – Macy’s Department Store retail workers strike, Herald Square.

June 8, 1786—In New York City, commercial ice cream was manufactured for the first time.

June 8, 1925—Former First Lady of the United States Barbara Bush was born in New York City

June 8, 1969—The New York Yankees retired Mickey Mantle's number (7).

June 8, 2001—Marc Chagall's painting "Study for 'Over Vitebsk" was stolen from the Jewish Museum in New York City. The 8x10 painting was valued at about $1 million. A group called the International Committee for Art and Peace later announced that they would return the painting after the Israelis and Palestinians made peace.

June 9, 1909—Alice Huyler Ramsey, a 22-year-old housewife and mother from Hackensack, New Jersey, becomes the first woman to drive across the United States. With three female companions, none of whom could drive a car, in fifty-nine days she drove a Maxwell automobile the 3,800 miles from Manhattan, New York, to San Francisco, California.

June 9, 1942—New York Senator Neil Breslin is born in Albany, NY.

June 10, 1822—John Jacob Astor III, businessman and philanthropist, is born in New York City

June 10, 1915—The first showing of a 3-D film before a paying audience takes place at the Astor Theater in NYC

June 10, 1959—54th New York Governor Eliot Spitzer is born in the Bronx, NY.

June 11, 1785—The first Catholic Church in NYC is incorporated, becomes St. Peter’s.

June 11, 1825—The first cornerstone is laid for Fort Hamilton in New York City.

June 12, 1665—England installs a municipal government in New York City (the former Dutch settlement of New Amsterdam).

June 12, 1939—Baseball Hall of Fame is dedicated at Cooperstown

June 12, 1943 – A little before midnight, a German submarine lands off Amagansett, Long Island [see June 13, 1943]

June 13, 1927—Charles Lindbergh was honored with a ticker-tape parade in New York City.

June 13, 1942—The Six Nations of the Iroquois declare war on the Axis powers, asserting its right as an independent sovereign nation to do so. This proclamation authoritatively allowed Iroquois men to enlist and fight in World War II on the side of the Allied powers.

June 13, 1943—German spies landed on Long Island, New York. They were soon captured.

June 13, 1963—Actress Lisa Vidal, known for her roles in “The Division” and “ER” was born in New York City.

June 13, 1971—The New York Times began publishing the "Pentagon Papers". The articles were a secret study of America's involvement in Vietnam.

June 14, 1994—The New York Rangers won the Stanley Cup by defeating the Vancouver Canucks. It was the first time the Rangers had won the cup in 54 years.

June 15, 1863—Secretary of War Edwin Stanton telegraphed New York Governor Horatio Seymour requesting state militia troops to repel the foreseen Confederate invasion of Maryland and Pennsylvania.

June 15, 1904—General Slocum disaster claims 1,200 lives.

June 15, 1951—First episode of I Love Lucy airs

June 15, 1932—Mario Cuomo, 52nd Governor of New York,, is born in Queens, NY.

June 16, 1857—New York City Police Riot occurred between the recently dissolved New York Municipal Police and the newly formed Metropolitan Police.

June 16, 1911—Incorporation of the Computing Tabulating Recording Company, forerunner of IBM, in Endicott

June 17, 1778—Springfield (in Otsego County, NY) is destroyed by Joseph Brant, a Mohawk military leader.

June 17, 1885—The Statue of Liberty arrived in New York City aboard the French ship Isere.

June 17, 1941--WNBT-TV in New York City, NY, was granted the first construction permit to operate a commercial TV station in the U.S.

June 17, 1916 -- official announcement of the existence of an epidemic polio infection in Brooklyn, NY. 2,000 deaths in NYC that year.

June 18, 1861—The first American fly-casting tournament was held in Utica, NY.

June 19, 1754—Albany Congress meets to form a plan of union

June 19, 1903—Baseball great Henry Louis “Lou” Gehrig of the New York Yankees is born in Yorkville, New York City.

June 19, 1940—Shirley Muldowney, the first female drag racer, was born in Burlington, VT but grew up in Schenectady, NY. She was the first female to receive a license from the National Hot Rod Association to drive a Top Fuel dragster. She won the NHRA Top Fuel championship in 1977, 1980 and 1982, becoming the first person to win two and three Top Fuel titles. She has won a total of 18 NHRA national events.

June 19, 1949—Execution of Julius and Ethel Rosenburg at Sing Sing Prison in NY.

June 20, 2012 – Fur District strike, NYC.

June 21, 1882—Artist Rockwell Kent is born in Tarrytown.

June 22, 1611—English explorer Henry Hudson, his son and several other people were set adrift in present-day Hudson Bay by mutineers.

June 22, 1939—The first U.S. water-ski tournament was held at Jones Beach, on Long Island, New York.

June 23, 1819—Washington Irving publishes “Rip Van Winkle”

June 24, 1954—53rd Governor of New York George Pataki is born in Peekskill, NY.

June 24, 1962—The New York Yankees beat the Detroit Tigers, 9-7, after 22 innings.

June 24, 2004—The death penalty was ruled unconstitutional in New York.

June 25, 1887—George Abbott, acclaimed theater producer, director, playwright, screenwriter, film director, and film producer was born in Forestville, NY

June 25, 1906—Pittsburgh millionaire Harry Kendall Thaw, the son of coal and railroad baron William Thaw, shot and killed Stanford White. White, a prominent architect, had a tryst with Florence Evelyn Nesbit before she married Thaw. The shooting took place at the premiere of Mamzelle Champagne in New York. The ensuing trial was called “Trial of the Century.”

June 25, 1951—In New York, the first regular commercial color TV transmissions were presented on CBS using the FCC-approved CBS Color System. The public did not own color TVs at the time.

June 25, 1954—Sonia Sotomayor, the third woman and the first Hispanic to sit on the bench of the United States Supreme Court is born in the Bronx.

June 25, 1985—New York Yankees officials enacted the rule that mandated that the team’s bat boys were to wear protective helmets during all games.

June 26, 1819—Abner Doubleday is born in Ballston Spa, NY.

June 26, 1819—WK Clarkson Jr. of New York obtained a patent for the first velocipede (bicycle).

June 26, 1880 – New York State Agricultural Experiment Station (in Geneva NY) was established in law.

April 23, 1933 – Formation of the Chinese Hand-Laundry Alliance, Mott St.

June 26, 1959—St. Lawrence Seaway opens

June 26, 1880 – New York State Agricultural Experiment Station (in Geneva NY) was established in law.June 27, 1847—New York and Boston were linked by telegraph wires

June 27, 1893—The New York stock market crashed; by the end of the year, 600 banks and 74 railroads had gone out of business

June 27, 1929—Scientists at Bell Laboratories in New York revealed a system for transmitting television pictures

June 27, 1942—The FBI announced the capture of eight Nazi saboteurs who had been put ashore from a submarine off the coast of Long Island, NY

June 27, 1949—Fashion designer Vera Wang is born in NYC.

June 27, 1959—The play “West Side Story” with music by Leonard Bernstein, closed after 734 performances on Broadway.

June 27, 1967—200 people were arrested during a race riot in Buffalo, NY

June 28, 1920—The College of Saint Rose in Albany, NY is officially established as a Roman Catholic college for women with a liberal arts curriculum.

June 26-28, 1928—Al Smith becomes the first Roman Catholic to be nominated by a major political party for US President

June 28, 1926—Film director, screenwriter, composer, lyricist, comedian, actor and producer, Mel Brooks, known for “History of the World: Part One” and “Blazing Saddles”, is born in Brooklyn, NY.

June 28, 1969—The Stonewall Riots, a series of spontaneous, violent demonstrations by members of the gay community against a police raid that took place at the Stonewall Inn in the Greenwich Village neighborhood of New York City, occurs.

June 28, 1969—Actress Tichina Arnold, known for her roles in the TV sitcom “Martin” and the CW show “Everybody Hates Chris” is born in Queens, NY.

June 29, 1987—The Yankees blow 11-4 lead but trailing 14-11 Dave Winfield's 8th inning grand slammer beats Toronto 15-14; Don Mattingly also grand slams

June 30, 1859—The “Great Blondin,” Jean Francois Gravelot, is the first tightrope walker to cross Niagara Falls

June 30, 1959—Actor Vincent D’Onofrio, known for many roles including his role as Detective Robert Goren in “Law and Order: Criminal Intent”, is born in Brooklyn, NY.

[nofomoartworld]

Hyperallergic: Marsden Hartley’s Maine: His Own Private Germany

Marsden Hartley, “Log Jam, Penobscot Bay” (1940–41), oil on hardboard (masonite), 30 1/16 x 40 15/16 inches, Detroit Institute of Arts, Gift of Robert H. Tannahill (all images courtesy the Metropolitan Museum of Art)

Marsden Hartley’s Maine, accompanying an exhibition at the Met Breuer, is as tantalizing for what it omits as for the insights it offers into Hartley’s creative intelligence. Focusing almost exclusively on works made in Maine — early and late land- and seascapes and some figure paintings, with few works from the intervening decades — the show offers a mainline dose of Hartley’s characteristic landscape motifs — most importantly, mountains — and approach to composition.

Whether employing the vibrant “stitched” brushwork of the early paintings or the interlocking, blocky and sinuous forms of the later works, Hartley layers elements to lock in the mass of a mountainside, a logjam pileup, or crashing waves between more or less narrow registers of sky above a rocky shore, lake, or valley below. There is a sense of compression, of barely contained energy, in many of his best works, both landscapes and figures, though he is also able to convey serenity, if only that of a sleeping volcano.

The exhibition most obviously neglects the paintings Hartley made between early 1913 and the end of 1915 while he was visiting and living in Germany. Those works culminate with the remarkable “war motif” paintings done in Berlin, which include the Metropolitan Museum’s masterpiece, “Portrait of a German Officer” (1914), a memorial to Hartley’s beloved friend, possibly lover, Lieutenant Karl von Freyburg, killed in battle in October 1914. These powerful and original syntheses of Synthetic Cubism and Expressionism — enlivened by his encounters with Robert Delaunay, in Paris, and, with the Blaue Reiter group in and around Munich, including Wassily Kandinsky, Gabriele Münter, August Macke, and Franz Marc — founded Hartley’s reputation as a modernist innovator. But they also cast into the shadows Hartley’s notionally more traditional mountain and ocean views, as they dominated assessments of his achievement from shortly after his death, in 1943, until the 1980 Whitney Museum retrospective that reignited interest in his wider career.

Marsden Hartley, “The Wave” (1940-1941), oil on masonite-type hardboard 30 1/4 x 40 7/8 inches, Worcester Art Museum

The exhibition’s publication, Marsden Hartley’s Maine, is effectively an extension of the catalogue accompanying Hartley’s 2003 retrospective at Hartford’s Wadsworth Atheneum, organized by Elizabeth Mankin Kornhauser. Two of the present book’s three principal essayists, art historian Donna M. Cassidy and Met curator Randall R. Griffey, contributed to the Wadsworth catalogue, in which the late Maine landscapes are represented sparsely, though their importance is noted. Kornhauser might have been commissioning the present book when she wrote, “One of the most prolific and successful periods of [Hartley’s] career, his last eight years in Maine, requires focused attention and new thinking. Little concern has been paid to his working methods and materials despite the fact that he is acknowledged to have been a brilliant colorist and an adroit painter.” Besides examining in-depth both the early and late Maine periods, the present book includes a fine essay on materials and techniques, based on careful examination of a dozen works, which shows a surprising continuity in composition and methods across Hartley’s career.

The show feels like a regional museum production, and it is a collaboration between the Met and the art museum at Colby College in Waterville, Maine. But the book also is redolent of regionalism of a different sort, the type that dominated American art in the later 1930s, in response to which Hartley promoted himself, in 1937, as “the painter from Maine.” Visitors to the exhibition are likely to come away with the uncomplicated idea that Hartley was what he advertised himself to be, and the book in part promotes this, opening with a chronology which mentions little about Hartley’s career aside from Maine-related aspects.

Marsden Hartley, “The Silence of High Noon–Midsummer” (ca. 1907–08), oil on canvas, 30 1/2 x 30 1/2 inches, collection of Jan T. and Marica Vilcek, Promised Gift to The Vilcek Foundation

Yet, like its hero, the book is conflicted about the identification of the artist with Maine. Following the chronology, there is an unusual three-author “Introduction” by the book’s main essayists, Cassidy, Griffey, and Colby Museum curator Elizabeth Finch. On the one hand, they buy into Hartley’s late career metamorphosis into a Maine native; on the other — in a more muted voice — they acknowledge the ambition and careerism that prompted Hartley, with a blithe disregard of his own history, to embrace a state where he never established a home, actually or emotionally, after abandoning the place as a young artist. Griffey is most forthcoming in his critical assessment of Hartley. The “reassuring narrative” of the artist fulfilling his destiny by returning to his native Maine woods in the shadow of Mt. Katahdin, Griffey writes, “has served as a frame through which many have interpreted Hartley’s late career as coming full circle” from his early Maine work. “However, a more critical assessment of his public identity as the painter from Maine reveals it to have been a gradual, indirect, even strategic process marked by contradiction and ambivalence as much as by profound connection and spiritual revelation.”

The intertwined issues of “authentic” American culture, homosexuality, and primitivism play out spectacularly during Hartley’s halcyon years in Berlin and they return in the 1930s. Besides nativism, that era is known for a resurgence of homosexual repression. (Thomas Hart Benton, the leading Regionalist, was notorious for his anti-gay diatribes.) It was a period of tremendous tension in the art world. Hartley’s supporter William Carlos Williams witnessed it and wrote, “two cultural elements were left battling for supremacy, one looking toward Europe, necessitous but retrograde in its tendency — though not wholly so by any means — and the other forward-looking but under a shadow from the first. They constituted two great bands of effort, which it would take a Titan to bring together and weld into one again.”

Marsden Hartley, “Madawaska—Acadian Light-Heavy” (1940), oil on hardboard (masonite), 40 x 30 inches, the Art Institute of Chicago. Bequest of A. James Speyer, 1987.249

Champion of “the American grain,” Williams means “forward-looking” toward America, but the footloose, cosmopolitan, homosexual Hartley had to be a Janus, looking both ways, and he needed to assume multiple masks to fit the role of the hardy, hyper-masculine Maine painter. Setting aside careerist calculation, Hartley did also subscribe to some degree (as did Williams and their friend Ezra Pound) to the racist and populist impulses behind the Regionalism.

Hartley was enthralled by Germany when he first visited — Berlin was then famous for its liberal attitude toward homosexuality, which was widespread in the military and the court of pageantry-loving Kaiser Wilhelm, who is thought to have been bisexual. Hartley wrote his financial backer and dealer, Alfred Stieglitz, that he “lived rather gayly in the Berlin fashion — with all that implies.” Germany felt like home — perhaps the only place in his adult life that could make that claim. In 1933, while staying in Bavaria, he wrote an autobiography, unpublished until 1996, in which he stated, “A week in Berlin made me feel that one had come home — and it is easy to see what four years of constant living there has done. I always feel I am coming home when I get into Germany, quite as I used to feel when I crossed the line of the State of Maine at South Berwick — I always knew I was in New England.”

Hartley was smitten from the first. Accordingly, this critically acute artist could be willfully blind to the political implications of situations he encountered, for example, German militarism. “Of course the military system is accountable for many things,” he wrote in a letter to Rockwell Kent, “and to some this military element is objectionable—but it stimulates my child’s love for the public spectacle — and such wonderful specimens of health these men are — thousands all so blond and radiant.”

In the 1920s Hartley spent considerable time in Europe; in the 1933 text he recalls a 1922 visit to Florence. “But I knew nothing of Fascismo then — and little about it now — save that being in Germany or Bavaria at the moment and seeming somehow to look like a native — is it my fine green plush hat — I bought in Paris in 1913 — and never found a real place to wear it until this year? Or is it my mountain cape, or is it both? But I get the N.S.D.A.P. salute” — the Hitler salute —“very often and never know quite what to do — because in quite the same way I never can cross myself in a Catholic Church and I frequently go in them — especially in Europe.” Art historian Gail Levin, in the catalogue for a show of Hartley’s Bavarian work, reports that at one point, the artist had the idea of asking a Nazi friend to introduce him to Hitler, who, according to Hartley, was “from all accounts” a “nice person, and, of course having wanted to be an artist, he likes artists.”

Marsden Hartley, “City Point, Vinalhaven” (1937–38), oil on commercially prepared paperboard (academy board), 18 1/4 x 24 3/8 inches, Colby College Museum of Art, Waterville, Gift of the Alex Katz Foundation, 2008.214

Hartley’s strange combination of ambition, vanity, erotic attraction, and childlike naiveté underlies his response to Dürer’s famous self-portrait at the age of 28, painted in 1500, which Hartley saw in 1933, descending from the mountains to visit Munich’s Alte Pinakothek. He said of Dürer that he seemed “to have all that the eye can have, he saw things exactly as they were, he knew how to convey that impression. … I would like to make a painting of a mountain and have it have all that this portrait has ….”

His comments on the Dürer suggest that he understood the late landscapes to be conceptual self-portraits, with landscape elements standing in for personal qualities, just as the insignia, banners, helmet, and initials of the painting “Portrait of a German Officer” stand in for his lost lover. But he took the idea of symbolic portraits (a concept he shared with the circle of artists he knew in the teens, including Marcel Duchamp, Francis Picabia, and Charles Demuth) and naturalized it, rooting the symbolic portrait in his own memory and experience, not in publicly shared motifs.

Like his regionalist sentiments, the bold primitivism of Hartley’s work is largely a construction. In his first German period, he was already signifying “nativeness” in an embarrassingly flatfooted way, drawing on clichéd American Indian motifs for his odd Amerika series, painted in Berlin at a time when he had never encountered Native Americans. In later work he graduates to styles signifying primitiveness and authenticity, assimilated from artists as different as the untutored John Kane, Georges Rouault, and perhaps Max Beckmann. But as in his German masterpieces, he always had a powerful ability to synthesize style, technique, politics, and desire, subordinating them to a unique vision, his own private Maine. Or Germany.

Marsden Hartley’s Maine continues at the Met Breuer (945 Madison Avenue, Upper East Side, Manhattan) through June 18.

The exhibition’s catalogue is published by the Metropolitan Museum of Art and is available from Amazon and other online booksellers.

The post Marsden Hartley’s Maine: His Own Private Germany appeared first on Hyperallergic.

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