For some strange reason, I don't mind walking in cities. Walking in suburbs....pass, nature hike, no thanks. But, in the city, most certainly a crowded one like NYC, It doesn't phase me a bit. Perhaps it's the hustle, the bustle, the excitement, the flow of the masses that helps me pass the time as I make the most of my bipedal nature.




Visiting the Moma - Museum of Modern Art, the archetypal place for viewing unique pieces, was a long time coming. A fasciation with modern artists such as Piet Mondrian, was what propelled me to travel by car, train, then by foot. Travelling to cities seems to bring up quirks, quirks such as looking up at a facade of a tall building before I enter, or tapping on a plane twice before entering. Some might dismiss the act as a nervous tick, but for me it enhances the experience.



Lillie P. Bliss, Cornelius J. Sullivan and Mrs. John D, Rockefeller, probably never had any inkling that an initial gift of eight prints and one drawing, would lead to the massive collection, it boasts today.



Like a fish who outgrew the fishbowl, the museum moved three times in ten years since its inception (1929). Now firmly embedded in mid-town Manhattan, the MOMA now hosts an eclectic collection of over 150,000 paintings, sculptures, drawings, prints and photographs. The museum also houses app. 22,000 films, 300,000 books and information on over 70,000 artists.

One of the nicest surprises of my re-discovery of museums, is finding new favorite artists. One such artist is Rene Magritte.



Rene Magritte (1898-1967) a Belgium artist who utilized the Surrealist method ( a method of reuniting the conscious / unconscious and promoting the fusion of dream and fantasy to form an "absolute reality.")



Surrealism (a more optimistic view of art) realised art should say something, albiet small, which mixed ordinary objects in an unusual context that gives new meaning to the familiar) grew out of the Dada (anti-establishment / non-art) and Cubism period( fragmented, jarring images) suited Magritte just fine.

Witnessing his mother drown, her face covered with her dress, would severely impact Magritte's work. Utilizing symbols of mirrors, eyes, windows, stages and curtains, his subjects faces would be obscurred. Dry, academic and polished "in the technical sense," Magritte's work remaining mostly unchanged. Experimenting with a "Renoir" style in the 1940's proved a fleeting experience, moving him back to familiar territory.




Studying at the Royal Academy of Arts in Brussels, Magritte honed his artistic skills in wallpaper and commercial art.

Painting the "Lost Jockey" in 1926, one of Magritte's defining moments as an artist was not warmly received by critics. Licking his wounds, moved to Paris where he further moved into Surrealism.




Two things I admire about Magritte's work is his recognizable style, as evidenced by his 1950 painting - "The Empire of Light, II." - Oil on Canvas 31" x 39" and his ability to pose a question and never really answer it. Drawing the viewer in closer, letting them in on a private joke, which they're are no answers only more questions. This type of the "dog chasing the tail," fits in nicely with his (magritte's) work. Questions as why, the lighted sky does not illuminate the scene below? Or why the motif is mainly monochromatic? Darkened hues surrounded by more of the same?

The enlargement of the chimney-type structure seems to be out of place, confusing the on-looker, pushing them off-balance, by challeging ideals with pre-conceived notions of acceptable composition. The use of light and darkness, although perhaps atypical, melds nicely, to form a cohesive unit.






Until then......

" So you see, at first the artists adopted Lyme, then Lyme adopted the artists, and now, today, Lyme and art are synonymous." F. Griswold.





A place just for me is how I felt as I surveyed the outlaying area of the Florence Griswold Museum - The once Home of American Impressionism. Sunny and clear, rolled in a new fall wrapper, the grounds were nearly devoid of other patrons. Located in beautiful Old Lyme, CT, the museum is actually divided into various buildings. The newest (finished in 2002) and largest (10,000 sq. feet) Krieble Gallery is where I spent my afternoon.




Glimmering in the sun with it's metal roof, and throughly modern design, the Krieble Gallery fits in nicely with its Late Georgian cousin - The Griswold House. Other various, smaller structures are closely approximated nearby. The Hartman Center, Side Porch, The Gardens, Riverfront, Marshfield House and Chadwick Studio make up the rest of the museum site.





Pushing past glass and steel doors (x 2) I survey the lobby, and like what I see. Open and inviting, a large convex front desk welcomes strangers and even stranger art lovers from all over. Small, open gift shop nearby, the gallery lobby has all the traits that win customers over.





A unique feature of the Krieble, is the ample amount of doors. I'm not sure this was done in the tradition of providing an open atmosphere, or satisfying fire codes.




After viewing a short, but expansive short on Miss Florence and heroes of American Impressionism, I push through, yes more heavy doors, and enter the first of three main rooms. In keeping with tradition, one of the rooms is painted in Lexington Blue. After surveying and enjoying many works in my almost entirely solitary surroundings, I came to view a painting of somewhat large porportions.





Willard Leroy Metcalf (1858 -1925) American Impressionistic Landscape artist was born in Lowell, MA. At an young age, Metcalf studied with landscapist - George Loring at the school of the Boston Museum of Fine Arts. It was Metcalf's dream however to try his hand in Europe. To his credit, Metcalf was one of the first Americans to work in Giverny, France and "pick up" on French Impressionism.



Metcalf fasinated with landscapes, changing New England seasons and nocturnal properties, once claimed that his painting of a Maine Church under moonlight as ,"My protest against Bolshevism in art."

The "Captain Lord House Oil (36" x 36") - 1920 - Oil on Canvas, Kennebunkport, Maine.

This painting took me by surprise, the use of light and shade never seemed overwhelming, but welcoming. Film-makers use a term called golden light (x2 a day) to describe ideal natural light. Metcalf's use of golden light further enhances the dramatic. Metcalf sensed the best use of light, and used it well.




I liked the way Metcalf "framed" this particular painting by having the greenery surround the perimeter of the work. The sparse use of blue coupled with heavy shade in the foreground seems to balance out the picture.


Critic William Gerdts named Metcalf as one of the masters of Impressionistic Landscape, although in his last decade of work leaned towards to "formulaic."




"If you build it they will come"

Florence Griswold's motivation was probably more monetary than altruistic in the summer of 1899. Left alone in the world with nothing more than her inherited family home and land, she decided to embark on a way many other women of the time survived..by opening a boardinghouse, to provide "a home away from home."

Fortuitous for Miss Griswold, one of her early borders was Henry Ward Ranger, a New York Artist, who wished to duplicate an art colony based on the French Barbizon method (a gathering of artists in a region of France who shared their compositely art system). Returning the following year, Ranger brought artists who were like minded, such as Willard Metcalf, Matilda Browne and William Chadwick.



Popular at the time, the first artists to grace the house painted in the style of Tonalism (1880-1913) an artistic style, characterized by "subdued and poetic landscapes rich with mood and sentiment." This "colored" atmosphere was further enhanced by the use of dark grays and browns.

"High Thinking and Low Living" C. Hassam.




A Full Year

The year of 1903 ushered in Jack London's, "Call of the Wild, the Wright Brothers first flight and the introduction of Miss Griswold's most famous house-guest, Childe Hassam. Hassam who is most responsible for the American Impressionist Movement - (19th century movement) indicated by short / visible brushstrokes, light colors, open composition, and ordinary subject matter. Influenced by Pierre -Auguste Renoir, Hassam painted in a brigher shade, and help turn the tide to Impressionism. Much like the application Mise en Scene - Impressionism is concerned with the "arrangement of the elements in the work."



Life of a Bohemian

During it's heyday (1900-1915) under Florence's warm heart and Hassam's colorful antics, the artists small colony flourished. Dignitaries such as Woodrow Wilson visited the influential colony, after hearing of its merit. Something he would do with his family several more times.

In 1906, Willard Metcalf paints "May Night," a moonlit view the Griswold House. After offering the piece to "Miss Florence," in liu of payment, she refuses, saying, "It's the best thing you've ever done." To further cement the movement, the artists decide to form the "Lyme Art Association," with much support from the community.

After a fruitful decade with the colony, Florence decides to sell the property to Judge Robert McCurdy Marsh due to failing finances and health with the stipulation that she be allowed to stay in the house. Something she did until her death in 1937.

Her obituary in the New York Times - This generous spirit survives; and not in the Griswold House alone, but as part of no inconsiderable chapter in the history of our native art."

Until then......

"I showed the America I knew and observed to others who might not have noticed." N. Rockwell


The saying "As American as apple pie, baseball and Chevrolet as catchy as it is, always seemed woefully inadequate to me. Heck, I drive a Volkswagen, I prefer Pecan, and I'm not really into sports. I would however rephrase the slogan - as American as, Liberty, Jazz, and Norman Rockwell. These were the things I pondered as I made my way to the entrance of the Norman Rockwell Museum in Stockbridge, MA.

The newly built museum (moved from the old corner house in quaint downtown Stockbridge) in 1993 for 4.4 million dollars sits neatly on 36 picturesque acres in the Berkshires. Overlooking the Housatonic River, the stately structure hosts the "world's largest and most significant collection of original Rockwell art." App. 4000 original works, in which app. 600 pieces are rotated three times a year to satisfy even the most ardent Rockwell fan.

Interesting enough, the museum who dedicates itself solely to Rockwell, is only one of a handful of art-houses in the country to focus on a single artist.

The Rockwell Archive holds more than 100,000 photos, letters and mementos from his life.

The small, red studio, moved also with the museum, sits neatly on a hill holding Rockwell's original contents, giving the viewer a nice rememberance of his inner workings. It was his (Rockwell's) desire to share with the public, his working progress.

Entering, I noticed how neat and orderly the museum was, mimicking Rockwell's Life and his works. Rounded walls, paintings spaced evenly about, walls different colors. Tasteful, supportive benches waiting for the viewer to ponder. The museum has the aura of - come inside and stay awhile feel to it. Neighborly and friendly, warm and inviting sans the pomposity.

Part of the problem while viewing Rockwell's works is that, many rate very high, making it hard to narrow down to one favorite. Gazing at a Rockwell, I use a different approach. I employ the "emotional quotient" in determining how much I enjoy the actual painting. This was one of the factors in choosing Rockwell's painting "New Kids in the Neighborhood - 1967 - Oil on Canvas - for Look Magazine.

Born in New York City in 1884, Norman Rockwell - an 20th Century American Painter / Illustrator- always wanted to be an artist. Having the support from his parents at an early age, he enrolled in the New York School of Art (Chase School) where he began his love of exploring the mediums. Leaving in 1910, he enrolled in the National Academy of Design, where he studied with Thomas Fogarty and George Bridgman. Fogarty guiding him in illustration and Bridgman in technical skills. Something he (Rockwell) always looked fondly back at.


Striking success early, Rockwell in his teens, landed the job as Art Director of Boy's Life. At 21, moved to New Rochelle, New York where he worked with famed cartoonist, Clyde Forsythe. In 1916, at a mere 22, he painted his first Saturday Evening Post, something he would do for the next forty-seven years. In all he produced app. 321 covers for the magazine.

The 30's and 40's is considered to be Rockwell's most productive years. After a failed first marriage, he married Mary Barstow, where they raised three sons, Jarvis, Thomas and Peter. Shortly, the family moved to Arlington, VT.

It was around this time where he was commissioned by FDR to produce works to promote the American Ideals during the war. In 1943, Rockwell painted the "Four Freedoms - Freedom of Speech, To Worship, From Want and From Fear." In all, Rockwell raised more than 130 million dollars for the war effort.

1943 also brought disaster to Rockwell, as a fire surrended many of his original works.

A seasoned traveller, Rockwell moved his family to Stockbridge in the 50's, one of the most beautiful places in America. It was during this time where he was at his most prolific, producing over 4000 original pieces in all.

The changes in the 60's in America, brought about changes in Rockwell, where he ended his relationship with the Saturday Evening Post, and began his work for Look magazine. Something he would pursue for over ten years. At Look, Rockwell began shifting from American semtimentality to deeper concerns - civil rights, war on poverty, and space travel.

Some highlights from Rockwell's twilight years. He received the Presidential Medal, the highest civialian award in 1977. He also received the Silver Buffalo Award, the highest honor given by the Boy Scouts. Something that Rockwell treasured, as many of his works centered on the ideals of the scouts. It was also at this time where he began to transfer his trust, paintings and studio due to failing health.

Rockwell passed in 1978.

"The Frank Capra of the Art World".

Approaching the painting - New Kids in the Neighborhood, 1967, I notice a struggle. The struggle however, is not in the piece, but with me. One of the interesting traits of Rockwell, is his ability to involve the viewer directly in the painting, a silent observer, not able to interfere with the proceedings, but only to discern. My conflict is to involve myself as an active participant, not as part of the "third wall."

The most qualifying attribute of a Rockwell work is his attention to detail. In his paintings, viewed as simplistic by some, belies a crystal clear image of "what you see is what you get," type of mentality. Notice the dirt on the two oldest children's sneakers. Notice also the dirt on the bottom of the truck, a type of balance, another determining factor. I fear much of art tries to manipulate the viewer in some way. Like some snake oil salesman dabbling in whatever medium is available at the time. I like Rockwell's lack of pretension, his ability to let the viewer see (or not see) whats up on the canvas. The beauty lies in the simplicity, as much as an desired piece of furniture or other implied artifact.

The main subjects in the painting, all children, two black and three white, strike a type of balance and detail mentioned earlier. Two of the oldest children, both the same height, same expression, same posture, having "seen" more of the world than their younger siblings. Notice the body language of the white children, more curious of the new arrivals. The use of the Black dog of the white children, and the white cat for the black children also enhances balance. The boys interest in baseball, a common trait that many share, regardless of color, is seen as a good starting point.

I also like the sparce use of pink and red. The little black girl, dressed all in pink. While the white girl, has a hint of pink in her hair, shows another type of balance that can be achieved. The use of red, shown only on a lamp, is perhaps subdued to show that enough blood has been spilled, and it's time for a new color to emerge.

An interesting option of the painting is that the two adults, the moving gentleman, and the barely seen adult behind the curtain, are not the main focus. In fact, they are "barely there." Perhaps a little child will lead them?

Critics of Rockwell, and they are plenty, deem his work as petty, bourgeois and kitsch. Writer Vladmir Nabokov, uses the word banal is describing Rockwell. Film producer Martin Rack, while working with Rockwell on the film Stagecoach stated," many years of Saturday Evening Post training you have given the American public has become your own trap." Only Rockwell knows for sure.

Until next time......

Passing Miss Porter's School for Girls and turning left towards the Hill-Stead Museum in Farmington, CT., a couple of thoughts crossed my mind. Having worked a decade earlier in the area, and never noticing the turn or even the museum, would I had cared about its exsistence years earlier? Driving down a gravel roadway, these were the thoughts I had, as I pulled up to the parking area and surveying the ample grounds.

Walking towards a structure which housed the gift shop / registration center complete with looping history of the museum being played on a nearby television. I tried to clear my head of any distractions. I was here to learn something new about art, not experience some psychological breakthrough.

Paying a nominal fee and learning the next tour would start in 10 minutes, I decided to have a look around the grounds. Purchased by Alfred A Pope and his wife Ada in the early 1900's, "Hillstead's original pathway system was used for both farming and recreation." The husband and wife team purchased surrounding tracts of land until they amassed app. 250 acres (100 acres were sold at a later date.)

The only child of Alfred and Ada, Theodate Pope-Riddle, Effie at birth, was the actual architect of the house. Studying privately, the strong-willed daughter designed the structure and land to follow the "English Landscape movement and Colonial Revival style." Completion commenced in 1901. Also noteworthy, Theodate was the founder of Avon Old Farms.

Founded in 1947, the three floor, 33,000 square foot Clap-board museum, holds app 250 prints / photographs, 3,300 books, and a vast array of French Impressionist Paintings from heavy hitters such as Edgar Degas and Claude Monet. Never overwhelming, the museum has the cozy charm of a house while still remaining its elegant stature of a historic landmark. Something not lost on app. 32,000 visitors a year.

Opulant and regal, the main dining room, filled with hues of rich colors and tones, also encompasses a major piece of artwork..."Jockeys - Pastel on paper (1886) by Edgar Degas (1834-1917). The painting while small, packs a large viewing punch. Don Minnich, my chosen docent, urges me to take notice of the surroundings. Large ornate gold frame, Ming Dynasty vase and well-worn green carpeting, the room complements the painting......or vice-versa. Vintage wooden knife boxes on either side of the painting further balances the piece.

Lighter and Brighter

Degas, a French Impressionist artist "visible brushstrokes, bright colors, effects of passage of time and unusual angles" - considered to be one of the founders, employed the use of paint, drawings, and sculpture that grew out of the (Realism movment - showing subjects as they normally are, minimal effects) was born to parents of moderate wealth. Showing an aptitude at an early age, Degas was allowed to turn one of the rooms of the house into a painting studio. This favored means of painting indoors( one of his constants) stayed with him his entire career. Degas is reported to have mostly avoided the practice of painting outdoors and work in the studio, where he felt he had more control under an enclosed structure.

At the time Degas was starting to come into his own, he studied drawing with Louis Lamothe and later at the Ecole des Beaux- Arts (school of fine arts) under the tutorage of Jean Auguste Dominique Ingres who uttered the influencial lines, "draw lines, young man...many lines."

Visiting Italy, Degas is also to have been influenced by artists such as Michelangelo and Raphael.

Degas liked to repeat subject matter, showing "real" people in "real" settings enjoying "real" situations. He also dabbled in photography, using pictures as well as memory as a reference for his works.

Not merely an impressionist painter, Degas is considered to be have a style all his own, a hybrid of Realist/ Classicist and Impressionist movements. Degas's varied influences ranged from French artist - Jean Auguste Dominique Ingres, as well as from works of Japanese Prints. Degas often reused his favorite subjects, dancers and horses. It is reported he completed over 1,500 works of dancers alone.

"Art is not what you see....but what you make others see." E. Degas.

Standing in the main dining room, staring at Edgar Degas's painting - Jockeys, my first impression was, it's pretty small ( no hard dimensions given), but also how bright and colorful the painting is. Blue sky, green open field, colorful jockeys leisurely riding their prized horses (before or after the big race.) Interesting, one of the jockeys seems to be bucking the tide and heading back towards the other riders, like a rebellious salmon fighting against the current.

"Painting is easy when you don't know how, but very difficult when you do." E. Degas.

The use of yellow also seems to be a major theme in the painting. Used sparingly, but effectively, the color is perhaps used as a type of balance; one jockey on either end of the painting has hints of yellow, as well as the grass below. Seen on a few jockeys, as well as scattered on the lawn, it's highlights, only adding to the bright afternoon day.

As noted earlier, Degas's favoritism of repeating can also be seen in the use of color. See how the color on the jockey's pants is also shown on the horse's hind quarters, a shimmering example of reflection and beauty.

The "speed" of the painting although relaxed, has the intention of at least one of the riders getting ready to start a fast gallop. I like the way, movement is subdued and encouraged at the same time.

Curiously, the use of a sharp border on the top of the painting, has the added effect of centering the subjects, where the viewer may be perhaps be a jockey themself, given them equal footing among the other riders.

Until next time.......

Pulling up to the New Britain Museum of American Art (NBMAA) in New Britain, CT, I felt surprisingly at ease. Maybe it was the serene surroundings, or maybe because the sun was shining, I knew I was in for a relaxing day of art viewing. The newly completed 43,000 square foot Chase Family Building seemed more like a large home, than a renowned museum. According to Melanie Eveleth, visitor services supervisor, the structure houses twelve galleries with more than 5,000 works, from 18th century to present. The NBMAA is the oldest museum in the country to dedicate itself solely to American art.

Walking past a modern seating arrangement in the front of the museum, and then through large steel and glass doors, I made a mental note to ask if the seats were from the store - Design Within Reach. As I was handed my museum brochure, I was told that the set did in fact come from the aforementioned business. Armed with a new confidence (at least with seating) a new 7.1 mp camera, dull pencil, and notebook, I headed for the Walter Wick exhibit.

"A painter for the People."
Remembering the Promise, the first piece of art that moves me, I'll write about, I noticed a painting of two individuals in combat. Dirtied and bloodied, clothes torn asunder, disholved faces reading each other. It was N.C. Wyeth's 1911 Oil on Canvas painting, "One more step, Mr. Hands.....and I'll blow your brains out," that stopped me cold.

One of America's preeminent Illustrators, Newell Convers Wyeth, N.C. Wyeth to you and me, was born in 1882 in Needham, MA. A son of a practical father and a emotional nourishing mother, Wyeth's love of the outdoors stemmed from his life on the family farm. Attending Mass. Normal Art School, Wyeth was encouraged to go the illustration route by teacher Richard Andrews.

Following advice from friends, Wyeth later attended Howard Pyle's Wilmington, Delaware school, where he was introduced to "The Use of Dramatic Effect." A style that basically defined his career. Wyeth was quoted as saying he "learned more in 5 minutes from a Pyle lecture, than he had learned in his entire previous education." Less than four months later (Wyeth) landed his first published work for the Saturday Evening Post, February 21, 1903. Other works followed quickly in magazines such as Century, Harpers, Outing and Scribners. In all, Wyeth drew and painted about 3,000 pictures and over a hundred illustrations.

"Realism came from hands on Experience"
Part of the Golden age of Illustration (1880's -1920's) it occurred to me that Wyeth was Pulp art, before pulp art became pulp art. Persons in mid-movement, lurid (perhaps for the time) subjects in compromising situations. Big, bold brushstrokes, "raw" colors, showing
characters "mixed with vivid imagination and masterful technique images," briefly defines pulp art and Wyeth's work. Like pulp art, Wyeth placed solitary or few people in the foreground. He felt this technique, "enhanced the dramatic." This is strongly evidenced by his work for the Robert Lewis Stevenson Novel - Treasure Island.

Two figures locked in combat, sea spray whipping their faces into a sullied and frenzy grimace, soiled by blood and sweat clinging to a mast, armed with dual guns and knives, just screams realism. I find Wyeth's use of movement refreshing. Wyeth is quoted as saying," Realism came from hands on experience." Spending time in the west in the early 1900's, it is evident how he came involve the process of nature as the second act. The first being his subjects. After viewing a diverse collection of "posed" pieces, I come to realize how "alive" his works really are. Even in his 1924 work of a Ladies Home Journal, the "posed" subject appears to be full of life.

Wyeth's use of the dramatic in the foreground, from the shading on the faces, to the detail on the clothing help set the painting's tone. At closer inspection, I also notice that in many of Wyeth's works, the serene background takes a backseat to the action-packed foreground. Does mankind upset the delicate balance of nature....or enhance it? I like Wyeth's use of dichotomy between man and nature.

Another key point to Wyeth's work is in the subject's faces. In many of his works, the subjects appear to starring in a contemplative manner...almost heroic. In his 1947 magazine cover for Woman's Day "The Yearling," the young person is staring into the fire, holding on to a small deer, lost in thought and mood. His works appear to be compassionate, yet strong at the same time.

"Have Egg will travel"
Although Wyeth achieved great acclaim from his oil, water colors, and illustrations. He also used a process called egg tempera, in which the egg yolk was used as the medium, producing a unique effect. The is shown in Wyeth's 1947 work, "Dodges Ridge." For me, the use of this technique "softened" his paintings, almost dulling them. The expressions, the life, the characters in the frame are muted, leaving the viewer yearning for more. Until then.......