Awesome Rockport is seeking proposals from local artists to create a permanent mural downtown

Ray Cahill, Trustee, Awesome Rockport, thanks Joey Good Morning Gloucester for all its community help, and shares this opportunity:

PUBLIC CALL TO ARTISTS 

Awesome Rockport is seeking proposals from local artists to create a permanent mural on a wall downtown in Rockport’s Cultural District. A $1500 grant will be given to the winner to help complete the work. We’re partnering with Rockport Music (the owner of the wall), the Rockport Art Association and the Rockport Public Library to bring this project to life. Spread the word! One sheet printable PDF here: Awesome Rockport Mural RFP

Awesome Rockport call to artists mural July 25 2019 1 or 2Awesome Rockport call to artists part 2.jpg

Questions here: rockport@awesomefoundation.org

Submit proposals here: www.awesomefoundation.org/en/submissions/new 

 

art exhibiting opportunity and fundraiser for RAA&M…submission deadline June 15

20190504_©c ryan.jpgGrass Roots: Emerging Artist Exhibit 2019 

CALL FOR ENTRIES 

The Rockport Art Association & Museum invites artists to enter this exhibit to celebrate non-juried artist members of RAA&M.  Artists need not be members of RAA&M but may be contributing members.This is an opportunity to show artwork that celebrates the diversity of the Creative Community about us.This exhibit will be juried using digital images (jpgs) submitted/ uploaded, by individual artists, during the May 15- June 15 submission period onto http://client.smarterentry.com/RAAM website. There is a link on the Rockport Art Association & Museum website.

IMPORTANT DATES 

Exhibit online submission starts: May 15,  2019

Deadline for online entries:        June 15,  2019

Notice of acceptance:                June  21,  2019

Juried in drop off:   Wednesday  July 10, 2019    10-4P.M.
Exhibit opens:        Saturday       July 13,  2019
Exhibit closes:        Monday        August 5,  2019
Pick-up:                 Tuesday       August 6,  2019 10-4P.M.

Work that has been juried into the exhibit should be hand delivered to The Rockport Art Association & Museum on the given date and time indicated when acceptance email is sent out.

SUBMISSION CRITERIA AND CONTENT 

Entries must be original. Once artwork is submitted, it may not be withdrawn by the artist.  All artwork must remain hanging until the end of the exhibit unless sold.

LOCATION 

The Martha Moore Gallery, upstairs in The Rockport Art Association & Museum 12 Main Street Rockport MA 01966

ARTWORK FORMAT, PRESENTATION & SIZE REQUIREMENTS

Artwork submissions are limited to 3 artworks per artist in the following media: drawing, mixed media, collage, photography, painting, digital art and sculpture. Maximum size is 18×22” including the frame.  All works on paper must be matted, framed and covered with glass or Plexiglas. Frames must be in good condition. Entries must be dry, properly prepared for exhibition and properly wired for hanging.The wire and eye screws must not show when the artwork is hung. Gallery wrapped canvas does not require framing unless the edges are unfinished. Maximum weight per hanging piece is 5 lbs.

ENTRIES & FEES 

Up to 3 entries: $35.00.
A sales commission of 40% based on original price will be taken by RAA&M when a work sells during the exhibit. Fees are non-refundable. There is no guarantee of acceptance into the exhibit.

FORMAT FOR DIGITAL IMAGES (JPGS) AND HOW TO SEND THEM

All entries must be submitted in a digital JPEG format, either cropped to remove background or on a black background without a mat or frame. Photos of the artwork should not be taken through glass or Plexiglas. Image quality is critical: Poor photography and presentation may affect acceptance by the juror.The digital image must be representative of the painting.

RELEASE OF LIABILITY 

By entering “Grass Roots: Emerging Artists”, the artist acknowledges that all reasonable care will be taken to safeguard the artwork(s) and the premises and said person accepts that RAA&M and its agents, directors, officers and volunteers will not be responsible for any damage, injury, liability loss or theft should any occur. Insurance for artwork entered in this exhibit is each individual artist’s responsibility.

REPRODUCTION OF ARTWORK 

Any artwork entered in this exhibit may be reproduced for advertising, marketing, and promotional purposes for “Grass Roots: Emerging Artists” or future exhibits without consent from or notification to the artist or the artist’s agent.

SALES 

All artwork should be for sale. Prices cannot be changed from those stated at submission. RAA&M will receive a 40% commission on any and all sales from the exhibit or as a result of the exhibit. The artist will receive 60%. Artists should expect payment within 4 weeks after the close of the exhibit. All sales are final.

PROMOTION OF THE EXHIBIT 

Promotion will be handled by theRAA&M, but we welcome artists promoting the exhibit as well.

EXHIBIT CONTACT               Heidi Caswell Zander artatlantic@aol.com        

Art of Winslow Wilson & Pico Miran: Two Artists – One Life exhibit at the Rockport Art Association & Museum

1951 The Devil's Churn prize painting by Winslow Wilson AAA show_ad mentions studio in Carnegie Hall in NY and Bradford building in Glo
1951 notice indicates AAA show and artist’s studio in Carnegie Hall in NY and Bradford building in Gloucester, Mass.

The Art of Winslow Wilson & Pico Miran: Two Artists – One Life

June 8 – July 8, 2019

Rockport Art Association and Museum

12 Main Street, Rockport, MA

There are about forty Winslow Wilson (1892-1974) paintings in the exhibit and a new catalogue. I look foward to considering his work in person.

Back in February 2017, I wrote about Wilson/Miran in response to a GMG query from the artist’s granddaughter, Claudia Wilson-Howard, and her painstaking research and writing about his mysterious life and forgotten art, and filled in more context. Her excellent work is the genesis for the museum show and rediscovery of the artist. Wilson was a member and teacher at the Rockport Art Association. For local readers, Claudia’s online catalogue about his work  www.winslowwilson.com 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

I added these: 21 Est 15th Street, 154 East 39th Street, Carnegie Hall, 3 Washington Square North in Greenwich Village, Woodstock, N.Y., and Lime Rock, CT.

winslow wilson 1954.jpg
page from Gloucester’s annual “Cape Ann Festival for the Arts” 1954. Artist Margaret Fitzhugh Brown selected his work for her group.

Cape Ann Plein Air at Rockport and North Shore Art associations

Cape Ann Plein Air 2018 is winding down. There’s still time to see examples from the 2018 season at North Shore Art Association and Rockport Art Association Museum tomorrow. (Though keep in mind some work will have been removed from the walls as Cape Ann Plein Air artists head back home from Cape Ann and/or sales.)

 

NEAL HUGHES_Dream Boat Nocturne_oil_First Place Cape Ann Plein Air award winner_exhibition at North Shore Art Association_20181014_©c ryan
NEAL HUGHES Dream Boat Nocturne takes home 1st Place Cape Ann Plein Air 2018

 

Rockport Art Association Museum

Quick Draw and members’ show:

 

evolution of Jason Burroughs Quick Draw – earned recognition at Cape Ann Plein Air 2018 at Rockport Art Assoc & Museum

 

 

Scenes from North Shore Arts Association

Cape Ann Plein Air

 

DON STONE studio showroom North Shore Arts

 

North Shore Arts NSAA Exhibition IV 2018

Jason Burroughs canvas before…Cape Ann Plein Air Quick Draw at Rockport Art Association TODAY, 1-5pm

 

JASON BURROUGHS before Cape Ann plein Air Quick Draw 2018 sho.jpg
Jason Burroughs before Cape Ann Plein Air 2018 quick draw competition. More than one hundred artists participated and they had two hours to complete. See the results at Rockport Art Association today. North Shore Art Assocation Cape Ann Plein Air exhibition is today as well. 

 

 

Sunday, October 14:

Quick Draw paintings exhibit & sale at Rockport Art Association and Museum from 1-5 pm. Music, food and art. Prizes will be awarded.
OPEN and FREE to the PUBLIC.

Sunday, from 10 am-5 pm, CAPA art exhibit and sale continues at North Shore Arts Association
OPEN and FREE to the PUBLIC

Upcoming exhibition by the Experimental Group of Rockport Art Association & Museum

Whalen-Waller_Hazmat-Man 24x24oil&collage ROCKPORT ART ASSOC &  MUSEUM experimental group opens 9th show 2018.jpg

photo caption: Whalen-Waller Hazmat-Man, 24×24, oil & collage, work included in Experimental Group 9th annual show at ROCKPORT ART ASSOC & MUSEUM

Donna Caselden www.donnacaselden.com shares the press release:

What:   Unexpected No. 9 Exhibit
Where:  Rockport Art Association & Museum, 12 Main Street, Rockport, MA
When:   Sept. 29-October 13, 2018, Reception Sunday Sept 30, 2-4pm
Info:       www.experimentalartgroup.com                                                      

Rockport Art Association & Museum’s Experimental Group Opens Ninth Show 

The Rockport Art Association & Museum’s Experimental Group opens its ninth group exhibition, “Unexpected No. Nine” at Rockport Art Association & Museum, 12 Main Street, Rockport, MA, 978.546.6604. 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, digital art and photography.  The exhibition runs from September 29 through October 13, with an Artist Reception on Sunday, September 30 from 2-4 pm.  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 

The Rockport Art Association & Museum (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.

REMINDER: KIM SMITH PROGRAM AT THE ROCKPORT ASSOCIATION AT 6PM MONDAY EVENING

This new, more conservation-oriented talk is based on my ‘Friend of the Earth’ speech at Salem State University.

The event is free and open to the public. I hope to see you there!

REMINDER: KIM SMITH PRESENTATION AT THE ROCKPOST ART ASSOCIATION

THIS EVENT IS FREE AND OPEN TO THE PUBLIC! 

Additionally Sherri Casey from the Rockport Garden Club writes: All RGC members and guests are welcome to attend our July 9 evening meeting at the Rockport Art Association. This should be a beautiful, informative talk by Kim Smith titled, “Beauty on the Wing: Life Story of the Monarch Butterfly.” The evening starts at 6:00 with a wine and cheese reception followed by Kim’s presentation. If you would like to attend but do not drive at night we can arrange for a ride. Please contact Sherri Casey.

Cape Ann Museum special exhibition of works by legendary artist and illustrator Harrison Cady opened Saturday July 7 closes Nov 9th

WELCOMING HARRISON CADY TO CAPE ANN MUSEUM _20180702_©c ryan

From the museum’s press release:

Cape Ann Museum’s special exhibition of works by artist and illustrator Harrison Cady (1877–1970)

Affectionately known to many as the bug painter, Harrison Cady (1877–1970) was a much loved member of Cape Ann’s summer art colony throughout the 20th century. A prolific illustrator, a printmaker and a painter, Cady was one of the last links to our nation’s Golden Age of Illustration, a distinction he earned through his long collaboration with writer Thornton Burgess. View from the Headlands, a special exhibition of works by artist and illustrator Harrison Cady (1877-1970) will open at the Cape Ann Museum on July 7, 2018, and remain on display through October 28, 2018.

Cady began his 70-year career as an illustrator with the Brooklyn Eagle and later worked for numerous popular American publications, including Life magazine, Ladies’ Home Journal, the Saturday Evening Post, and Good Housekeeping. His syndicated comic strip “Peter Rabbit” ran in the New York Herald Tribune for 28 years.

A frequent visitor to Rockport, Massachusetts, Cady made it his permanent summer home in 1920, purchasing a seafront property known as “The Headlands.” With his studio “the Silo” located nearby, Cady shifted his focus to painting landscapes and harbor scenes. Cady was an early member of the Rockport Art Association, founded in 1921.

View from the Headlands draws on public and private collections throughout the region with examples of Cady’s early magazine illustrations, his work with writer Thornton W. Burgess, and his later landscape paintings. The exhibition reflects the Cape Ann Museum’s commitment to preserving and presenting work that celebrates the area’s culture and history.

Harrison Cady (1877–1970). Lane’s Cove, c.1930s. Oil on board. The James Collection, promised gift to the Cape Ann Museum.Cady_Harrison_©CAPE ANN MUSEUM.jpg

Walter Harrison Cady was born and raised in Gardner, Massachusetts, and headed to New York City at eighteen. The successful artist eventually had an eight room studio in the Sixty Seventh Studios building at 27 West 67, NYC. The Cadys purchased a summer house and studio on Atlantic Avenue in Rockport (see photos above). In addition to this exciting and rare chance to see original work by Cady at Cape Ann Museum, there is a new book celebrating Cady’s art currently in production: Madness in Crowds: The Teeming Mind of Harrison Cady. Cady had long ties with the Rockport Art Association and local artists. Cady’s work is in the collection of the Library of Congress, Metropolitan Museum of Art, and various private collections and institutions. The Archives of American Art has a gifted collection of Harrison Cady (sketchbooks, correspondence, estate papers digitized. How fantastic that work will be acquired by the Cape Ann Museum.

photos below: Harrison Cady sketchbook, ca. 1943. Harrison Cady papers, 1902-2002. Archives of American Art, Smithsonian Institution.

Library of Congress

 

 

Life_62_1616_658_Cady_Savannah College of Art and Design.jpg
Life Magazine, Volume 62, number 1616, page 658 (1913-10-16) Savannah College of Art and Design

 

 

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

IMG_20171126_155540

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

squall-comin-winslow-wilson
Winslow Wilson, Squall Coming, photo http://www.winslowwilson.com

 

pico-miran-winslow-wilson-merry-go-round
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*.

the-harvard-monthly-arthur-wilsonwilson-dos-passos-cummings

 

the-girl-that-advertised
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;

the-broom-july-4-1922-fernard-leger-cover
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.

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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

 

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Did  Cummings and Arthur W. Wilson come to Gloucester while attending Harvard or at other times in the 1920s to see Stewart? Was Cummings in Gloucester other years, decades? Did Wilson and Mitchell re-connect in Gloucester? John Sloan’s etching Frankie and Johnnie illustrates EE Cummings’ play HIM. Did Wilson interact with Stuart Davis in Gloucester or New York?

(Aside: In 1984 the play ViVa Cummings! opened in Gloucester under the direction of William Finlay and the New Stillington Players. Did they know Cummings had been here…)

1935

Wilson fails to update his Harvard alumni association requests. Here’s the 1935 entry:

harvard-class-of-1915-printed-1935

1951 ELEANOR ROOSEVELT VISITS EXHIBIT AT AAA, NYC

roosevelt-visits-aaa
Artist Winslow Wilson guiding Eleanor Roosevelt through his solo exhibition at Associated American Artists, June 4, 1951.   Photograph from http://www.winslowwilson.com

Wilson’s painting from the 1951 Contemporary American Artists exhibition at the Associated American Artists won the people’s choice award, and his solo exhibit in June was attended and written about by Eleanor Roosevelt in her nationally syndicated MY DAY column:

HYDE PARK, Sunday—At lunch last Friday I had a visit from Mr. Tatsukichiro Horikawa, who is over here from Japan on a trip studying the World Federation movement in different countries. He has visited Switzerland, Germany, France and England, as well as the United States, and he came to see me before in New York City; but he wishes particularly to come up to Hyde Park and place some flowers on my husband’s grave.

I was especially interested in talking to him because, like so many of the World Federalists, he felt that the United Nations was very inadequate. He felt one must bring about more unity—and particularly, if we were going to have any settlements in the Far East, there must be unity between Great Britain and the United States as well as the other nations in their policy.

I asked him if he did not think it was a good deal to expect to have a unified policy among 60 nations when the organization bringing them together had been in existence only six years. It seems to me it requires longer for people to understand how the other peoples think and feel. World federation might someday be possible, but not until people have had a greater length of time to find out about each other. One of the American World Federalist members had also written me saying that the federation must come first and then be followed by understanding. I think this begs the question of how you obtain the federation and how, having obtained it in name, you do anything practical with it.

In New York City on Thursday afternoon I went to see an exhibition of paintings of the sea done by Winslow Wilson, at the Associated American Artists Galleries on Fifth Avenue. This exhibition was arranged under the auspices of Greenwich House, toward whose support a portion of the proceeds of any sale will go.

Mr. Wilson told me he did not paint actually from a scene he was looking at, but from memory. He said he particularly liked to use the sea because it was to him a symbol of the stress and strife we were all going through at present; and still it had a kind of discipline and control which was what most human beings were striving for today and finding difficult of achievement. I found some of his paintings quite beautiful, and reminiscent of many seacoasts I have known. In certain ones the light made one think of tropical climates; in others the shores of Maine seemed to stand out. More often the sky and the sea were stormy, but the light was nearly always breaking through. Let us hope that out of this turbulent period of history the light will break through for all human beings.

The other day I was sent a little pamphlet written by Eloise R. Griffith on the national anthems and their origin. I think this will be of interest to a great many people who want to know a little more than the mere words of the songs which we hear sung so often.” – Eleanor Roosevelt

I am thunderstruck reading a portion of sales would benefit Greenwich House. Talk about an undercurrent.

1951 Post-Modern Manifesto in the same year as the AAA seascapes

 

manifesto-for-post-modern-art-1951
https://winslowwilson.com/manifesto-for-post-modern-art/

“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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