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In the late 19th-early 20th century American artists began to gather in summer colonies that stretched from California to New England. In focused recognition of that development, this exhibition groups selected pairs of paintings or prints by artists who worked at very different north-east art colonies at Cape Ann (Gloucester and Rockport), Massachusetts on the one hand, and Monhegan Island, Maine on the other. These locations separated by a hundred miles of ocean became, as did many other contemporary art colonies, important crossroads in the history of American art as they hosted major artists through the years. In the case of these two colonies, figures such as Theresa Bernstein, Eric Hudson, Leon Kroll, Hayley Lever, James Fitzgerald, Lester Stevens, Stow Wengenroth and others visited, and sometimes lived, in both locations. This exhibition includes works by these and other artists from the collections of the Monhegan Museum of Art and History, the Cape Ann Museum, the Rockport Art Association, and private collections. Works by each of these and other artists depicting aspects of either location reflect the differences between the city-size Cape Ann, with its large industrial Gloucester harbor, sizable fishing fleet, and extended Rockport seashore, and by contrast the tiny off-shore island with its amazing cliff formations and smaller harbor and lobster fleet. Published by the Monhegan Museum of Art & History, Monhegan, Maine, to accompany the exhibition of the same name organized by the Monhegan Museum of Art & History and the Cape Ann Museum on view at the MMA&H from July 1 to September 30, 2021, and at the Cape Ann Museum in Gloucester, Massachusetts, from October 23, 2021, to January 16, 2022.
Exhibition Catalog
Weather-beaten fish houses on the waterfront, the village homes and summer boarding houses, the majestic cliffs of the outer island and the busy harbor--these are the Monhegan Island scenes photographed in the late 1890s by photographer Eric Hudson. His works, in 125 duotone photographs, are featured in "An Eye for the Coast", with captions and text by Shettleworth and Bunting.
Cape Cod and its neighbouring islands, Nantucket and Martha's Vineyard, possess extraordinary beauty. Magnificent ocean vistas, spectacular sand dunes, quiet marshes, and historic seaside villages, bring people back year after year. For the inquiring visitor the remarkable stories of courage and enterprise by those who settled the land and shaped its character provide background for thoughtful reflection. This stunning new book features fifty of Kathryn Kleekamp's original oil paintings depicting land and seascapes along with rare historic photographs. Image and text capture the fundamental nature of this remarkable area: the heartbeat of those who farmed the land, fished the seas, captained the great schooners, or waited at home for a loved one's return. The historic vignettes explore major influences that made Cape Cod, Nantucket, and Martha's Vineyard what they are today. Traditional Cape and Island recipes found here are another link to the present from the past.
Scholarly essays on the achievements of female artists working in and inspired by the American South Looking back at her lengthy career just four years before her death, modernist painter Nell Blaine said, "Art is central to my life. Not being able to make or see art would be a major deprivation." The Virginia native's creative path began early, and, during the course of her life, she overcame significant barriers in her quest to make and even see art, including serious vision problems, polio, and paralysis. And then there was her gender. In 1957 Blaine was hailed by Life magazine as someone to watch, profiled alongside four other emerging painters whom the journalist praised "not as notable women artists but as notable artists who happen to be women." In Central to Their Lives, twenty-six noted art historians offer scholarly insight into the achievements of female artists working in and inspired by the American South. Spanning the decades between the late 1890s and early 1960s, this volume examines the complex challenges these artists faced in a traditionally conservative region during a period in which women's social, cultural, and political roles were being redefined and reinterpreted. The presentation—and its companion exhibition—features artists from all of the Southern states, including Dusti Bongé, Anne Goldthwaite, Anna Hyatt Huntington, Ida Kohlmeyer, Loïs Mailou Jones, Alma Thomas, and Helen Turner. These essays examine how the variables of historical gender norms, educational barriers, race, regionalism, sisterhood, suffrage, and modernism mitigated and motivated these women who were seeking expression on canvas or in clay. Whether working from studio space, in spare rooms at home, or on the world stage, these artists made remarkable contributions to the art world while fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, provides a foreword to the volume. Contributors: Sara C. Arnold Daniel Belasco Lynne Blackman Carolyn J. Brown Erin R. Corrales-Diaz John A. Cuthbert Juilee Decker Nancy M. Doll Jane W. Faquin Elizabeth C. Hamilton Elizabeth S. Hawley Maia Jalenak Karen Towers Klacsmann Sandy McCain Dwight McInvaill Courtney A. McNeil Christopher C. Oliver Julie Pierotti Deborah C. Pollack Robin R. Salmon Mary Louise Soldo Schultz Martha R. Severens Evie Torrono Stephen C. Wicks Kristen Miller Zohn