Farnsworth Magazine: Summer 2022

INCREASE YOUR IMPACT!

GIVE TO THE PRESIDENT’S CHALLENGE MATCH

Are you able to upgrade your membership? Will you join the Patrons and immerse yourself in Maine’s rich arts scene? Right now, your increased membership gift or new Patrons contribution will be matched dollar for dollar by our board president. You’ll get new benefits and help the Farnsworth fulfill its critical role of bringing art to our community.

The Patrons

You are invited to join other community leaders to enjoy exclusive benefits and privileges that bring the art of Maine alive and immerse you and your peers in our rich, vibrant culture. As a Patron, you provide vital support to the only museum in the world devoted exclusively to Maine’s role in American art. Turn your passion for art into access and philanthropy. Become a Patron today! Visit farnsworthmuseum.org to explore member benefits and levels. Have more fun this summer and help us extend our mission!

2022 BOARD OF TRUSTEES

Gerry Isom President Ed Waller Vice President

Victoria Goldstein Second Vice President Ron Stern Secretary

Greg Knowlton

Treasurer

Alexis Akre

Alla Broeksmit

Stephanie L. Brown

Paula J. Carreiro

Dick Costello

Sylvia A. de Leon

Wendy Drummond

Lisa Garrison Jean Kislak

Lisa Kranc

Robert E. Kulp

Betty Long Thomas A. Renyi

Jim Rowan Susan Schreiber Kenneth Shure Susan Allen Thomas Laura Wack

Presidents Emeriti

Charles Altschul Richard Aroneau

Susan M. Deutsch

H. Allen Fernald Anne W. Jenkins Frederic R. Kellogg

Trustees Emeriti Gail Catharine Bertuzzi Mazie Cox Elizabeth Kunkle John Rosenblum

The home and studio of Ashley F. Bryan (born July 13, 1923), an American writer and illustrator of children’s books, photographed July 20, 2018 in Isleford, Maine by Walter Smalling.

Copyright © 2018 Walter Smalling Jr. All Rights Reserved

Ex Officio Christopher J. Brownawell Director

Farnsworth Art Museum • Farnsworth Homestead • William A. Farnsworth Library

Wyeth Center • Wyeth Study Center • Wyeth Research Center

Olson House • Gamble Education Center • Julia’s Gallery for Young Artists

16 Museum Street Rockland, Maine 04841 207.596.6457 farnsworthmuseum.org WriteUs@farnsworthmuseum.org

Dear Friend, Summer—that magical time of the year in Maine!

We are so excited to welcome you. Currently, all twelve of the Farnsworth’s galleries feature new exhibitions, so be prepared to experience a new museum.

With over 15,000 wonderful objects in the collection, we have assembled an outstanding selection, including old favorites and seldomseen works of art, as well as several new acquisitions we are thrilled to debut as we work to diversify the collection. We also celebrate the talents of Ashley Bryan, Leonard Baskin, and Louise Nevelson, along with new exhibitions by the Wyeths. Our strategy is quite simple: to keep the experience exciting and dynamic. And stay tuned as we eye the Farnsworth’s 75th Anniversary in 2023.

In addition, we are so pleased to expand our educational offerings with both in-person and online programming. We are also reactivating our important work with regional schools through educational experiences in the classroom and in the galleries. To experience all of our events and programs, go to www.farnsworthmuseum.org.

This year, our Maine in America Award honors the legacy of Ashley Bryan—artist, storyteller, poet, puppet maker, and humanitarian. As part of the celebration, the museum has mounted the exhibition Ashley Bryan: Beauty in Return, which examines the artist’s lasting contributions to American art, and which we invite you to explore.

The Farnsworth Art Museum is poised and ready to embrace a future filled with opportunity and growth. As always, thank you for your unflagging support and encouragement. We could not do our work without you!

We are delighted to welcome you back to the museum.

Happy summer!

Christopher J. Brownawell, Director

COVER IMAGE: Ashley Bryan, Grape Pickers Sing to the Sun (detail), 1992, 48 x 36 inches, Oil on canvas, Gift of the Ashley Bryan Center © The Ashley Bryan Center

RECENT ACQUISITIONS

Lauren Fensterstock (b. 1975), Scrying 7, 2017, Shells, mouth-blown glass, obsidian, and rubber, 41 x 33 x 12 inches, Museum Purchase, Lynne Drexler Acquisition Fund

Artist Lauren Fensterstock’s work is based on deep research into historical precedents of the human relationship with the natural world. This work, from her recent Scrying series, references the “Claude” glass, a small convex mirror used by eighteenth-century artists and connoisseurs of the landscape to take in a scene by turning their back to the view and gazing instead on the reflected image. In this way, Fensterstock is also commenting on our current “selfie” culture, where the mediated image takes precedent over the real thing. The title, Scrying, comes from the ancient practice of foretelling the future using a crystal ball or other reflective object. Like Louise Nevelson, whose work she admires, Fensterstock uses primarily black, considering it “a mystical color” that “has the power to be both full and empty.” In the work of both artists, black is used as a transformative element, unifying disparate parts to create a harmonious, mysterious whole. Fensterstock lives and works in Portland, Maine.

© Lauren Fensterstock

Photo: Claire Oliver Gallery

Daniel Minter is noted for his work as a printmaker, in addition to

work in other media. Each of his prints is

8

the

to the forced

off Phippsburg, by the State in 1912. The community, which had lived on the island since the 1800s, were forcibly removed, their homes burned, and their dead exhumed and relocated, ostensibly to make way for a tourist resort that was never built. The objects in the foreground are imprints of items—fishhooks, buttons, nails, etc., found in archeological digs on the island. Through his work with the Maine Freedom Trail, Daniel Minter was instrumental in Malaga Island being designated a historic site.

Daniel Minter (b. 1961), Beneath 8, 2021, Linocut, 30 ¼ x 22 ½ inches, Gift of Lisa and Brian Garrison

Artist

his

unique. In Beneath

,

figure cradles the outline of a house, a reference

displacement of the Black and mixed race community that lived on Maine’s Malaga Island,

© Daniel Minter

RECENT ACQUISITIONS

Mary Armstrong (1948–2020), Tsunami, 2015–17, Oil and wax on panel, 24 x 72 inches, Gift of the artist’s estate

The uprising in Egypt that led to the Arab Spring and the tsunami that devastated Japan in 2011 prompted painter Mary Armstrong to employ the image of a dark wave as a metaphor for the human condition. The troubled waters in her series of fictive seascapes can be read as a reflection of our times.

Tsunami, a large, three-panel painting, which she worked on from 2015–17, is a tour de force. The turgid waters roil upward, creating a band of deep blue across the overall horizontal composition. The sky is reduced to the top third of each square panel. Against the dominant dark water, the light sky offers relief and a sense of hope, conveying the artist’s unwavering belief in the redemption of nature—and by extension, humanity. Mary Armstrong maintained a studio in Georgetown, Maine, for four decades.

(1918–2010),

Stephen Pace first came to Maine in 1953 to visit Michael Loew, a fellow New York artist who spent summers on Monhegan Island. Pace then continued up the coast to the small fishing village of Stonington on Deer Isle. He was immediately enamored by the town’s working waterfront and its coastal landscape, and it became his summer home for the rest of his life. Today his home and studio in Stonington is an artist’s residency administered by Maine College of Art and Design. Throughout the 1950s, Pace worked abstractly, creating freely brushed compositions in oil and watercolor. Though non-presentational, they reference the colors and sensations of nature. As Pace later said, “…my abstract paintings were from nature. If they weren’t figurative, they were at least inhabited.”

Stephen Pace

Untitled, 57-W13A, 1957, Watercolor on paper 22 x 30 ¼ inches, Gift of the Stephen and Palmina Pace Foundation

© Stephen and Palmina Pace Foundation

RECENT ACQUISITIONS

Erin Johnson’s mesmerizing work was filmed at the Skowhegan School of Painting and Sculpture in the summer of 2019, and debuted at her solo exhibition, Unnamed for Decades, at the Center for Maine Contemporary Art, in 2020. In March 2021, it was projected each evening on every screen in Times Square, in celebration of the spring equinox. Lake gazes down at a still body of water from a birds-eye view, while a group of artists peacefully float in and out of the frame or work to stay at the surface. The video reflects on notions of togetherness and theorist Silvia Federico’s call to “reconnect what capitalism has divided: our relations with nature, with others, and our bodies.” Erin Johnson received the Ellis-Beauregard Foundation Fellowship Award in 2019, which recognizes outstanding work by a Maine artist.

Recently, the museum received an unprecedented number of gifts of art and has made acquisitions to broaden its collection. For information on how to make a gift of art, visit: farnsworthmuseum.org.

Erin Johnson (b. 1985), Lake, 2020, Edition 1/3, 2 APs, HD Video, Museum Purchase, Lynne Drexler Acquisition Fund

© Erin Johnson

Introducing Jaime DeSimone: Our New Chief Curator

The Farnsworth Art Museum is pleased to announce the appointment of Jaime DeSimone to serve as the museum’s new Chief Curator. DeSimone will lead the museum’s exhibition and collection programs. With close to twenty years of curatorial experience, DeSimone comes to the Farnsworth from the Portland Museum of Art, where she served as the Robert and Elizabeth Nanovic Curator of Contemporary Art.

“Jaime has an impressive understanding of the Farnsworth’s historical collections, as well as our important relationships with the artists currently contributing to the ongoing narrative in American art, and its important connections to Maine,” said Farnsworth Director Christopher Brownawell. “The museum’s Board of Trustees and I have full confidence in Jaime’s ability to propel the Farnsworth’s curatorial program to a new level of success.”

In addition to her position at the Portland Museum of Art, DeSimone has served as Curator at the Museum of Contemporary Art Jacksonville, as Exhibitions Project Coordinator at the Peabody Essex Museum, and in the curatorial department of the Addison Gallery of American Art. As a curator and leader in museums, DeSimone has championed an artist-centric approach—ensuring artists are the heartbeat of any institution. Among the over forty exhibitions she has curated, her projects have garnered support from many leading organizations, including the National Endowment for the Arts and the Fulbright Program.

“I am honored to be joining the Farnsworth at this exciting time in the institution’s history,” commented DeSimone. “I

forward to building upon its successes to elevate Maine’s role in American art, especially on the eve of the museum’s 75th anniversary in 2023, and to guiding the museum’s artistic vision into the future.”

look

“We will continue the museum’s ongoing efforts to diversify the collection, not only in media but to ensure representation that is reflective of all artists, both past and present, who contribute to Maine’s role in American art.” ~ Jaime DeSimone

By Jane Bianco Curator, Farnsworth Art Museum

Mounted on the occasion of Leonard Baskin’s one hundredth birthday, Leonard Baskin: I Hold the Cracked Mirror Up to Man showcases work of extraordinary scale and technical mastery, and emphasizes the artist’s often haunting images. Baskin is widely known for his monumental woodcuts, the focus of this exhibit and one facet of his extensive range as a sculptor, printmaker, writer, and one of America’s greatest book designers. His Gehenna Press, it is said, set standards against which all fine press books are measured, and he continues to be revered for his accomplishments as an artist, teacher, and humanitarian. What follows are a few comments from four of those who knew him well.

Four Perspectives

Speaking of Leonard Baskin:

Leonard Baskin, Hydrogen Man, 1954, Woodcut, 62 ¼ x 24 3/8 inches, Collection of the Farnsworth Art Museum, Gift of Kenneth N. Shure and Liv M. Rockefeller, 2007.23.1 © The Estate of Leonard Baskin

From a publisher:

It occurred to me that I had better learn something serious about printing before setting up my own press. Leonard agreed to take me on as an apprentice from 1968–69, which was probably a generous term for what it was. Both he and his pressman, Harold McGrath, gave generously of their time. Harold taught me about makereadies, about printing handmade paper, about doublerolling, and “maximum pressure and minimum ink.” He let me work the Kelly Two 34-inch cylinder press, and Harold lost none of the detail that Leonard put into the cutting of the prints.

Gehenna was certainly the most important private press that existed in the mid-twentieth-century. We were printing standing on oriental rugs, and every morning these packages would arrive from all over the world containing books. The house was a wunderkammer— filled with etchings, stamp collections, books galore, portfolios of prints.

Leonard Baskin opened my mind to the ideal of illustrated books as major components in the history of book design and production. The books that Leonard created are unmatched.

–David R. Godine

From a collector:

The later Holocaust series of woodcuts exhibits a difference in technique from what Baskin explored in his earlier monumental woodcuts—that is, the use of various colors. They make a very bold color statement in terms of their brilliant reds and pinks and browns. He felt there was no point in replicating the photographic evidence of the Holocaust, in dealing with this monumental issue of his time.

When I encountered Baskin he had already established himself firmly in the art pantheon. He was multifaceted, multitalented, an indefatigable worker. He would work in his sculpture studio during the day and then stay up late into the night working on fine prints. A number of his sculptures deal with expressions of mourning. Keening Woman can be thought of in a universal sense: a woman bent over in grief who is a witness to war, famine, death, and destruction. There is a certain ambiguity to his work, which allows the viewer to ascribe their own emotional reaction to it. He wanted to avoid sentimentality, and states clearly that not all art need be uplifting. His art makes a very profound statement on life, death, and the human condition.

–Ken Shure

I worked for Leonard as his apprentice for a couple of years around 1972. I’m thrilled that the Farnsworth committed to this exhibition because reproductions of his large works pale in comparison to being in the presence of one of these life-size woodcuts.

They really rattled my cage when I first encountered them— huge prints drying up on the wall, printed by Harold McGrath. There was no way anyone could just walk by these things. They set the bar for visual impact.

My first woodcuts were equine anatomical studies copied from Leonard’s books by George Stubbs (printed from the original plates). At the end of a given day, my hands were shredded. Wear and tear on his hands never fazed Leonard—he was so locked into achieving the rhythm of the grain of the wood combined with his line. Leonard’s compositions were a perfect symphony of solid black, supportive white space, and selectively detailed carving. I marveled at how he made those decisions.

–Stephen Hannock

Leonard Baskin, LB AET S 76, 1999, Woodcut, 39 3/8 x 28 1/2 inches, Collection of Kenneth Shure and Liv Rockefeller. © The Estate of Leonard Baskin

There were three periods over the course of his life when Leonard made the large-scale woodcuts—the early 1950s through the early 60s, the 1970s, and then the last set he did in the 90s, when he did two self-portraits and the Holocaust woodcuts.

He was interested in the notion of monumentality—the term “monumental woodcuts” is a very specific, carefully chosen one. On his first trip to Europe after the war, when he was studying in Florence and Paris, his exposure to sculpture really helped him to develop his understanding of what it meant to give an image a sense of scale, power, and grandeur. He chose his descriptors carefully.

He felt there were certain commonalities in what it means to be human, what draws us all together, and he sought to explore this in his work. He was deeply interested in the capacity of humans to be atrocious, and suffering imposed by humans upon one another. He came of age as a young artist in the wake of World War II and the Holocaust— almost unimaginable horrors inflicted by humans through concentration camps and nuclear weapons.

Sometimes you get the impression from his art that he must have been a morose figure haunted by death and horrors— that couldn’t be further from the truth. He was lively, vivacious, and funny—he loved life.

–Hosea Baskin

From a painter:

From Baskin’s son, Hosea Baskin:

By Leith MacDonald Exhibition Curator

EARLY TEMPERAS & ISLANDS IN MAINE

In the center of Andrew Wyeth’s 1938 tempera Half Tide, a fisherman leans over an old wooden lobster trap hauled up into his small boat. The solitary figure and his rust-colored dory are dwarfed beneath the rocky shore of Little Caldwell Island and windswept pines swaying above whitecapped waves that roll toward the viewer. While paintings of islands and depictions of Wyeth’s Maine neighbors working on the sea are commonly found in his work from the 1930s, tempera paintings are not. In fact, tempera was something new for the artist, which is the focus of the exhibition Andrew Wyeth: Early Temperas, on view in the Wyeth Study Center Gallery.

Andrew began to experiment with egg tempera after his brother-in-law and fellow student of N.C. Wyeth, Peter Hurd, introduced him to a modified version of Renaissance painter Cennino d’Andrea Cennini’s techniques. Hurd himself was experimenting with simplifying medieval tempera recipes to just three ingredients: ground pigment, distilled water, and egg yolk, a system Wyeth incorporated into his own work.

Tempera is an ancient painting medium where egg yolk is used to bind color to a panel or board. Think about how hard it is to scrub egg dishes when they are left out. Unlike oil, which Wyeth described as “hot and fiery like a summer night,” painting with tempera is a slow process of building up layers of semitransparent color. Tempera dries so quickly that colors cannot be mixed on the panel. It lends itself to fine brushwork and small, hard-edged lines that can be crosshatched and woven together to create changes in value and blends of color.

In the Hadlock Gallery this summer, Andrew Wyeth: Islands in Maine explores islands in Muscongus and Penobscot Bay, on which Wyeth found endless inspiration. This exhibit includes watercolors and ink drawings, and also offers an opportunity to compare some of Wyeth’s mature tempera paintings with his first efforts in the late 1930s, including his final tempera, Goodbye, painted seventy years after Half Tide What can you tell about Wyeth’s development from his brush strokes and tempera technique?

Andrew Wyeth, Half Tide, 1938, Tempera on panel. The Andrew and Betsy Wyeth Collection, ©Andrew Wyeth/Artists Rights Society (ARS)

ASHLEY BRYAN

THE FORMATION OF AN ARTIST

By Jim Cipielewski, PhD, and Linda M. Pavonetti, EdD

Ashley F. Bryan was a man who embodied many talents— vivid artwork, mesmerizing storytelling, masterful poetry, and verse-like prose. He also exuded benevolent humanity and an aura of peace. His drive to create and his many life experiences, whether positive or negative, contributed to his remarkable local, national, and international distinction. He once wrote, “…my story-telling and my illustration combine my African heritage with all the world cultural influences to which any contemporary artist falls heir.”1

Ashley Bryan’s service to his country in World War II deeply influenced the remainder of his life, though he rarely discussed the subject until he published his autobiographical Infinite Hope: A Black Artist’s Journey from World War II to Peace (2019). Growing up in the Bronx in the 1920s and 30s, his family and community provided him with opportunities to practice art, and he was accepted and encouraged in all his endeavors at home and in school. But when he applied for scholarships to art schools, he encountered tangible racial bias for the first time, and was told that “it would be a waste to give a scholarship to a colored person.” His former high school teachers encouraged him to apply to Cooper Union, which used a blind admissions process based on the quality of the applicant’s portfolio. Ashley was enrolled, tuition-free, and attended classes for three years in a nurturing environment.

But World War II was raging, and at nineteen, Ashley Bryan was drafted. It was then that he encountered not only bias but segregation: Black soldiers were considered inferior mentally and physically and treated as such. Ashley continued to devote most of his free time to his art. On his first assignment to the Boston shipyards, he sketched many of his fellow soldiers and managed to connect to neighborhood children. He taught the children to draw on his days off, supplying all the materials they needed. When the 502nd Port Battalion was deployed to Scotland, Ashley was warmly accepted by the local population, who invited him into their homes.

Bryan’s art remained vital to his existence, and he convinced the Battalion commander to allow him to attend art classes at the Glasgow School of Art. His company moved south as part of Operation Overlord—better known as D-Day—and, on the third day of the Allied invasion, landed on Omaha

Courtesy of Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania Libraries

Beach. He told us this was an existential experience. Whenever he lifted a foot, he wondered if he would still be alive after he put it down. Blacks were given the most unwanted army details, even in the face of war: stevedores, minesweepers, collectors of the dead. After the war, Bryan found cities in ruins and people rummaging for food and other necessities, and pondered, “Why do people make war?” Still, he strove to make his art—materials always at hand, just waiting for time to draw. This remained an essential part of who Bryan was, as an artist and as a person.

Though the war ended, racial injustice did not. Ashley’s company was assigned to guard German POWs, and he realized they were just people, like him, who wanted to continue with their pre-war lives. But he also found that the German prisoners were treated better than Black soldiers, who could not use the post exchange, nor return home immediately and be welcomed as a unit. Rather, they returned sporadically, restricted by how much segregated space was available on transport ships. Moreover, Ashley was responsible for getting his Black soldiers back to the US, and was the last of his company to leave France. He had been in a war to protect freedom in the world, but was not able to enjoy that freedom in the American Army. He wrote, “Despite the indecencies directed toward them because of color, the black [soldiers] held rather to the decencies of people who honored their gifts of service to the nation despite color.”2 However, like so many who resisted resurrecting memories from the war, Ashley put away his drawings and paintings from World War II and, for many years, submerged his recollections of that time.

Back home, Bryan finished his studies at Cooper Union and was offered a summer scholarship to the new Skowhegan School of Painting and Sculpture in central Maine. This was when he first visited Acadia National Park and viewed the Cranberry Isles, later to become his permanent home. He was subsequently invited back to create a mural that, to this day, covers one of the walls in the meeting house at Skowhegan.

After Cooper Union, when Bryan enrolled at Columbia University as a philosophy major, he still had questions: Why war? Why were people trying to kill each other? He continued his pursuit of art in many of its forms, attending the Université d’Aix-Marseille in southern France from 1950–53 on the GI Bill, and studying in Germany on a Fulbright scholarship. While he made art, he continued to become a man who engaged with the world through his

Seaglass Triptych 1 Paper mâché and found glass Collection of the Ashley Bryan Center

Seaglass Triptych 2 Paper mâché and found glass Collection of the Ashley Bryan Center

Ashley Bryan, Family Gathering, Tremont Avenue, Bronx, NY, 1962, 48 x 48 in, Gift of the Ashley Bryan Center ©Ashley Bryan Center

creativity. He traveled to Prades to hear and sketch the great Pablo Casals, the celebrated cellist, who had refused to play after the Fascists supported the rise of Franco, in Spain; in Germany, he sketched and painted continually, and found time to gain an understanding of the German people. One day, many years later, as we walked the shore of Little Cranberry Island with Ashley, he sang German Lieder— in German—then translated so we could understand what he was singing. Bryan continued to teach children and adults throughout his life: “…Ashley Bryan is a teacher. His books, many based on African proverbs and tales, teach about his own heritage. But through his stories and paintings, he teaches about humility and respect. Ashley has taught our [Cranberry] islands by word and deed, the essential qualities of humanity and love. His unceasing generosity, his art, books and daily walks across the islands, all show a youthful exuberance for life … that is infectious and humbling.”3

Ashley Bryan was one of the most genuinely kind and thoughtful people we’ve ever known. Possibly it was his philosophy of living gained from his World War II experiences that made him such a special person. “My faith is open to the mystery and wonder of being. I feel that my art is a gift, a means by which I may reach out and touch the lives of others. I do so in love and thanks for the warmth of response to my work.”4

Jim Cipielewski, PhD, and Linda M. Pavonetti, EdD, are Professors Emeriti from Oakland University in Rochester, MI, and curators of the Ashley Bryan Art Collection at Oakland.

REFERENCES AND ENDNOTES

Bryan, A.F. Infinite Hope: A Black Artist’s Journey from World War II to Peace. New York: Atheneum/Caitlyn Dlouhy Books, 2019.

Unattributed quotations have been drawn from an interview conducted with Ashley Bryan and transcripts of his lectures at Oakland University.

1 Kingman, L., Hogarth, G.A., & Quimby, H. eds. Illustrators of Children’s Books 1967-1976. Boston, MA: The Horn Book, Inc., 1978, 105.

2 Bryan, A.F. Foreword. In T. L. Stone, Courage Has No Color, the True Story of the Triple Nickles: America’s First Black Paratroopers Somerville, MA: Candlewick Press, 2013, xi.

3 Isaacs, D. (2012). “The Ashley Bryan School on Islesford: School’s new name honors both a revered resident and an entire community.” Retrieved from http://www.workingwaterfrontarchives. org/2012/04/25/the-ashley-bryan-school-on-islesford/

4 Pavonetti, L.M. “Ashley Bryan: Beautiful Language, Wondrous Words.” The Journal of Children’s Literature 28(2), 2002, 70 (62–71).

DONALD SPRAGUE AND RAY GRANT: INVESTING IN THE ARTS

When Donald Sprague and Ray Grant moved to Maine two years ago, it made sense for them to join the Farnsworth: the couple’s many years of working in the arts and education fields ingrained in them the importance of investing in the arts, and Donald had long had a connection to the museum. For almost thirty years, he had visited a high school friend and his family in Maine. “Ever since they first introduced me to the Farnsworth,” Sprague says, “I have regularly pilgrimaged there.” His grandmother introduced him to Andrew Wyeth as a boy, and the Wyeths have been favorites ever since. Donald and Ray, who live in Augusta, have held a household membership at the museum since 2020.

HOLLY BOYD AND

RUFFIN: OPENING WORLDS THROUGH THE ARTS

Holly Boyd and Nick Ruffin are no strangers to the world of art museums. They have been active in the arts through their involvement at the Smithsonian American Art Museum, and look forward to continuing their support of the Farnsworth. When they came to Maine, Holly says, it was clear the Farnsworth was “a wonderful fit for them.” They enjoy meeting people in the community, and are drawn to the museum’s collection of Wyeths and its welcoming nature.

Holly and Nick became excited to support the museum’s Learning and Engagement programming when they discovered Julia’s Gallery for Young Artists, and care deeply about youth education. They’re now members of the museum’s Patron program, and love how many of the Farnsworth’s programs place an emphasis on nature. Growing up, Holly was taken to many museums in the Boston area. “When I was taken to one as a child,” she says, “then I wanted to go back. I thought the place was there for me.” But she emphasizes the importance of that first step of getting youth to museums: “Once I was there,” she says, “my world opened up.”

Holly Boyd began her career in computers at IBM before moving to the computer center on Capitol Hill, and has served on the board of the Knox Museum. Nick Ruffin has worked as a financial advisor for RBC Capital Markets, in Virginia, and is a board member at the Rockport Library Foundation and the Coastal Mountains Land Trust. The couple, who are enthusiastic art collectors, live in Rockport, Maine.

Ray Grant, a national junior chess champ of Guyana, moved to New York in 1989 for a chess tournament. He holds a doctorate from DePaul University, and has worked in higher education for fifteen years. He currently serves as an assistant dean at Bates College, where he is building a comprehensive program for first-generation students.

Donald Sprague taught Latin and Greek and served in administration for twenty-six years at Loyola Academy, Chicago; in development at Porchlight Music Theatre Chicago; and at Bolchazy-Carducci Publishers, the country’s only publisher dedicated solely to Latin, Greek, and the classics.

NICK

With gratitude...

The generous support of individuals, foundations, corporations, and local businesses provides critical funding for operations, exhibitions, programming, education, and acquisition. On behalf of the board of trustees, we honor all who make our collective achievements possible. Thank you to our many supporters who help us celebrate Maine’s role in American art.

1948 Society

As of December 31, 2021

We honor these visionary donors who have given more than $100,000 cumulatively to our museum, historic sites, and library. Together this group has contributed more than $65 million to the institution and to art and culture in Maine.

$5 Million+

MBNA America

The Phyllis and Jamie Wyeth Foundation

$2 Million+

Julie and Charles Cawley / The Cawley Family Foundation

Edwin F. Gamble

Evelyn and Gerry Isom

$1 Million+

Anonymous

Charles Altschul

Gail Catharine and John Bertuzzi

Ann and Dick Costello

Edith R. Dixon

Libra Foundation

MBNA Foundation

Barbara and Peter McSpadden Ellen C. L. Simmons and Family Alice and Wickham Skinner Olive C. Watson

$500,000+

Anonymous

Linda L. Bean

Stephanie L. Brown

The Brown Foundation, Inc.

Chichester duPont Foundation, Inc.

Fletcher Family Foundation

Vicki and Alan Goldstein

Institute of Museum and Library Services

Alex Katz Foundation, Inc.

Virginia and Wayne Libhart

Carolyn and William Lieber

The Henry Luce Foundation, Inc.

Paige and Kenneth Noland

Elizabeth Noyce / Elizabeth B. Noyce Charitable

Lead Trust

Maurine and Robert Rothschild

Mrs. Stuart Symington

Up East Foundation

Arthur K. Watson Charitable Trust Wyeth Foundation for American Art

$250,000+

Adelson Galleries

KK and Douglas Auchincloss

Roberta and Kenneth Axelson

Camden National Bank

Cascade Foundation

CCM Community Development LI LLC

Mary Baldwin Collins and Keith Collins

Cornelia Cogswell Rossi Foundation Inc.

Marylouise Tandy Cowan

Mazie Livingston Cox and Brinkley Thorne

The Davis Family Foundation

Clarence & Anne Dillon Dunwalke Trust

Susan Deutsch and Carlisle Towery

Elizabeth and Michael Dingman

Daniel Emery

Fidelity Foundation

Frank E. Fowler

Anne and James Jenkins

Jean and Jay Kislak

Barbara and Donald Lowry Jacqueline B. Mars

Liv Rockefeller and Ken Shure

Elisse Walter and Ron Stern

Alice L. Walton Foundation

$100,000+

Anonymous (4)

The Anonimo Foundation

American Foundation Corporation

Sarah and John Ames

Arison Arts Foundation Kit and Richard Aroneau Bank of America Charitable Foundation, Inc.

Charlotte and Christopher Beebe Lillian Berliawsky

David A. Blanton, III

Charles Butt

Jennifer and Paul Cabot

Mary Ann and Churchill Carey, Jr.

Lois Chiles and Richard Gilder / The Gilder Foundation

Susan Goodridge Crane

William Davis

Sylvia A. de Leon and Lynn R. Coleman

T.M. Deford

Sally and H. Allen Fernald

First National Bank

Joan and Richard Foxwell

Harborside Consultants, Inc.

Jane’s Trust Foundation

Molly and Frederic Kellogg

Donna & Greg Knowlton

Kohler Foundation, Inc.

The Kresge Foundation Betsy Kunkle

A. Bodine Lamont

Michelle and Larry Lasser / The Birchrock Foundation

John H. MacFadyen

Maine Arts Commission

Maine Department of Economic & Community Development

Mattina R. Proctor Foundation Kathleen and William May Carol and Ed Miller

The National Endowment for the Arts National Park Service / Save America’s Treasures Jean and Harvey Picker / Branta Foundation Tina and Joe Pyne

Gustavus Remak Ramsay Beth and Tom Renyi David Rockefeller, Sr. Carolyn and John Rosenblum Emily and James Rowan

The Seth Sprague Educational and Charitable Foundation

Kaki and J.P. Smith Strathmore Paper S. Donald Sussman Estate of William E. Thon Laura and Ed Waller The Walton Family Foundation Kathryn B. Wilson

Lucy Farnsworth Circle

Our heartfelt thanks to these individuals who, like our founder Lucy Farnsworth, ensure we will continue to fulfill our mission in the years to come through their generous bequests and estate gifts.

Anonymous (4)

Ms. Paula Armbruster Mr. and Mrs. Richard Aroneau

Mr. and Mrs. Kenneth S. Axelson*

Ms. Cynthia Kellogg Barrington*

Mr. and Mrs.* Doug Bekkedahl

Mr.* and Mrs. Roger Berlind Mr. George X. Bernier*

John A. Bird and Mary Alice Bird Mr. Alan L. Bird*

Mr. Alton Hall Blackington*

Janice Blood*

Ms. Mary Boudreau* Mrs. Joan Ryerson Brewster*

Mrs. Virginia C. Brooks*

Mr. Colin Brown*

Mr. Edwin L. Brown*

Mrs. Ruth Brown

Mr. Walter Bueher*

Mr. Dana R. Burnham*

Jean Winifred Rowell Burrage*

Mr. Steve J. Caminis

Gianne Conrad

Ms. Lisa D. Coon* Mr. Dick Costello

Susan Covington, PhD Mr. Edward Hyde Cox*

Ms. Mary Meeker Cramer*

Mr. and Mrs. Elmer C. Davis*

Katherine M. de Rochemont*

Philip Dinkins and Ed Lally

Mr. and Mrs. C. Jay Dunton

Mr. Harry R. Eaton*

Ms. Martha Wyeth Elkins

Mr. Daniel Emery

Mrs. Eleanor Crosby Erdman

Miss Lucy Copeland Farnsworth* Mr. Nairn B. Farnsworth

Mr. and Mrs. H. Allen Fernald Mr. Herbert L. Fink*

Ms. Betty R. Fisher*

Gertrude Fiske*

Mr. Charles L. Fox*

Mr. Richard W. Foxwell*

Mr. Edwin F. Gamble*

Mr.* and Mrs. Charles D. Gibson

Mrs. Victoria R. Goldstein

Bess Battey Gowdy*

Ms. Katherine Haines*

Emily V. Hall*

Elinor L. Hallowell*

Ruth Haskell*

Mr. Donelson Hoopes*

David G. Hopkins and David W. Wilson

Mrs. Anne W. Jenkins

Mr. Frederic R. Kellogg

Dr. Frank W. Kibbe*

Mr. Charles H. Knickerbocker*

Robert E. Kulp, Jr.

Betsy Kunkle

Mrs. A. Bodine Lamont*

Edna Lamson*

Ms. Barbara Lannon*

Mr. and Mrs. William J. Leone

Mr. and Mrs. Donald Lowry*

Harriet Carlton Luce*

Mr. John H. MacFadyen*

Ms. Martha Mason*

Ms. Robin Watt Masters*

Mr. Stephen May*

Mr.* and Mrs. William F. May

Mr. Malvin J. Mayer*

Ms. Anna B. McCoy

Ms. Maude Robin McCoy

Mr. and Mrs. Peter F. McSpadden*

Mr. and Mrs. Leo Meissner*

Mr. Robert Messer*

Mr. William Franklin Mitchell*

Anita Card Montgomery*

Erin M. Nelson

Mrs. Elizabeth B. Noyce*

Mrs. Anne P. Owsley*

Mr. William J.L. Parker*

Alice Robbins Richard*

Mr. Gary Rodrigues and Ms. Robin Buckley

Mr. Maurice T. Root*

Mr. and Mrs. James A. Rowan

Mrs. Marilyn M. Saltus

Mr. Edwin Murray Senter*

Mrs. Nancy B. Sheldon*

Alice and Wickham Skinner*

Ethel M. Smith*

Dr. and Mrs. Michael P. Smith

Mr. and Mrs. Clifford Smith*

Harriet W. St. Clair*

Alice H. Stenger*

Ms. Judith F. Stevenson

Ms. Barbara B. Stimson* Mrs. Elizabeth A. Straus*

Geraldine King Tam* Susan and Norman Thomas Estate of William E. Thon* Ms. Deborah Tobey

Anna Mae Twigg

Mrs. Irene von Horvath* Edward M. Waller Jr. and Laura R. Waller Mrs. Olive C. Watson*

Ms. Agnes Wheeler* Mrs. Arthur Williston* Mrs. Bertha Winslow* Ms. Sarah M. Woolworth Mr. Andrew Wyeth*

Building Tomorrow’s Farnsworth Campaign Donors

Through February 1, 2022

Thank you to these special friends whose generous support helped strengthen the Farnsworth and prepare it for the future in our recent $12 million campaign.

$1,000,000+

Gail Catharine and John Bertuzzi Ann and Dick Costello Evelyn and Gerry Isom Estate of Wickham Skinner

$500,000+ Charles Altschul Mrs. F. Eugene Dixon

$250,000+

Stephanie L. Brown

Cornelia Cogswell Rossi Foundation Fidelity Foundation

Victoria and Alan Goldstein Jacqueline B. Mars

Elisse Walter and Ronald Stern Alice L. Walton Foundation

The Phyllis and Jamie Wyeth Foundation

$100,000+

Anonymous (2) Cascade Foundation

Mazie Livingston Cox and Brinkley Thorne Sylvia A. de Leon and Lynn R. Coleman Susan Deutsch and Carlisle Towery Fletcher Family Foundation

The Gilder Foundation

Institute of Museum and Library Services

Anne and James Jenkins Kohler Foundation, Inc. National Park Service / Save America’s Treasures Elizabeth and Thomas Renyi Ellen C. L. Simmons & Family Kaki and J.P. Smith

The Wyeth Foundation for American Art

$50,000+

CedarWorks / Susan and Duncan Brown Estate of Katherine M. De Rochemont Lisa and Brian Garrison Emory and Fred Hamilton Donna and Gregory Knowlton Liv Rockefeller and Kenneth Shure Anne and James Rogers Laura and Ed Waller

$25,000+

Anonymous (2) Katharyn and Richard Aroneau

The Birchrock Foundation Helen Frankenthaler Foundation Ms. Betty Long and Dr. Theodore Long Carol and Edward Miller Tina and Joe Pyne Todd Robinson

$10,000+ Anonymous Mary Alice and John Bird Broeksmit Family Foundation Paula Carreiro and Peter Branch Susan Goodridge Crane

The Davis Family Foundation Elizabeth Kunkle Susan and Norman Thomas

Supporters:

Anne Susan and Nevins Baxter

Carolyn Davis and Ned Black

David A. Blanton III

Isabelle and Hanley Bodek

Mr. and Mrs. H. Allen Fernald Connie Hayes and George Terrien Lynn Ravitz and Scott Isdaner Lydia S. Kaeyer

Molly and Frederic Kellogg Cynthia Hyde and James Kinnealey Leonard Kizner and Jeffrey Tucker

Robert E. Kulp, Jr. Rochelle and Jim Putnam Mr. and Mrs. James A. Rowan

Contributions, Gifts, and Grants

January 1 – December 31, 2021

We are grateful for the many people, companies, and organizations that help us every day to engage others in the discovery of art.

$250,000+

Ann and Dick Costello

Evelyn and Gerry Isom

Jacqueline B. Mars

Alice and Wickham Skinner

The Phyllis and Jamie Wyeth Foundation Wyeth Foundation for American Art

$100,000+

Edith R. Dixon

Fletcher Family Foundation

Kohler Foundation, Inc.

National Park Service / Save America’s Treasures

$50,000+

Alexis Akre and Russell Scholl

Charles Altschul

Arison Arts Foundation

Stephanie L. Brown

Edwin F. Gamble Charitable Lead Trust

Vicki and Alan Goldstein Institute of Museum and Library Services

$25,000+

The Anonimo Foundation

Linda L. Bean

Gail Catharine and John Bertuzzi

Camden National Bank

First National Bank

Helen Frankenthaler Foundation

Lisa and Brian Garrison

Donna and Gregory Knowlton

Libra Foundation

Mattina R. Proctor Foundation Elisse Walter and Ron Stern

$10,000+

Anonymous (6)

Kenneth and Roberta Axelson Fund for the Farnsworth Art Museum Bank of America

Diana B. Bean

Doug Bekkedahl

Alla Broeksmit

Paula Carreiro

Cascade Foundation

The Davis Family Foundation

Susan Deutsch and Carlisle Towery

Victoria and Paul Ferber

Eileen and E. James Ferland

Anna and Paul Holloway

Marney and David Hupper

Lisa Kranc Charitable Fund

Betsy Kunkle

Eric Lang

Robert Lehman Foundation

Jan and Kevin Lipson

Maine Arts Commission

Maxine Whalen Millar

Dorsey Dee Murray

Heidi and Kevin Naughton Onion Foundation

Beth and Tom Renyi

Holly and Nick Ruffin Madelyn and Luther Sadler

Liv Rockefeller and Ken Shure

$2 million in museum investments for arts programming with local schools

Kaki and J.P. Smith

The Snider Foundation Susan and Norman Thomas Anna Mae Twigg

Thomaston Place Auction Galleries

Laura and Ed Waller

$5,000+

Anonymous Bank of America Charitable Foundation, Inc.

Charles Butt

Mazie Livingston Cox and Brinkley Thorne Kathleen and Jack Deupree

Dowling Walsh Gallery

Cynthia and Daniel Edelman

Daniel Emery

Fisher Charitable Foundation

Karen Foxwell

Katherine and Bruce Garren

The Gilder Foundation

Judith Holden

Anne and James Jenkins

Molly and Frederic Kellogg Key Bank Foundation

Robert E. Kulp, Jr.

Mary Susan Leahy

Drs. Robyn and Bob Metcalfe

Jeanne Murphy Gayle and David Noble Carolyn and John Rosenblum Peter Rothschild Emily and James Rowan Genevieve Pluhowski and Russell Wiggin Judith and Allen Zern

$2,500+

Kit and Richard Aroneau Bessemer Trust Mary Alice and John Bird Elizabeth and Bernard Blum Karen and Rob Brace Ann and Rick Bresnahan Sue-Ann and William Buckley Steve Caminis

Virginia M. Campbell CedarWorks

Susan Goodridge Crane Wendy and Gentner Drummond Lucy and Bill Farland Valerie and Kenneth Foster

Anna B. McCoy and C. Patrick Mundy Carol and Ed Miller

F.L. Putnam Investment Management Company Dana Shell Smith and Ray Smith Klara and Larry Silverstein

Jeannette Chaffee Smith and Walter Pyle Smith Susan G. Taylor Linda and Steuart Thomsen Kathy Weber Jodie and Bruce Willard

$1,000+

Anonymous Betsy and Philip Allen

Allen Insurance and Financial Katherine and Eric Baumgartner

Anne Susan and Nevins Baxter Becton Family Foundation

Ann and Harris Bixler Ruth Brown, Hank Meil, and Carlie Muffie and Louis Cabot Amy and Robert Campbell Michaela and Jeffrey Colquhoun B.J. and William Cowie Beatrice and William Cox

50% increase in the number of members and donor gifts to the museum year over year

Lou Ann Daly

Anne Davis and Karl Dean

Katherine and David Doub

Edward G. Ewing

GE Foundation

Robert Gober and Donald Moffett

Merna and Joseph Guttentag

Emory and Fred Hamilton

Joanne E. Haynes

Ellen Sudow and Joseph Higdon

Ellen and Jack Holland

Maisie and Jamie Houghton

Barbara and Charles Hughes

Carole and W. Patrick Hughes Ann and Kirk Jenne

Cynthia Hyde and James Kinnealey

Catherine and James Kinsella

Leonard Kizner and Jeffrey Tucker

Carol and Val Kratzman

Elizabeth Krementz and Bill Byrne

Cathy Landau-Painter and Charles Mamane

Jo Carole and Ronald Lauder

Felicia and Theodore Leibman

Gretchen and William Leone

Mitchell Lichtenstein and Vincent Sanchez

Ann Rutherford and Bruce Lively

Tamara and Robin Lloyd

Patricia and Lance Mahaney

Carol Salzman and Michael Mann

Esther and Peter McEvoy

Barbara McNulty and Richard Stuart Caroline and Wayne Morong

Tamra and Gerald Muir

Robert and Janette Noddin

Anne B. Ogden

Susan C. Petersmeyer

Lynn Potoff

Mary Ann Roberts and William Babcock

Nalini and Christopher Rogers

Richard A. Russack, Jr.

Elizabeth S. Saltonstall

Ellen Seidman

Isabel Shattuck and Samuel Plimpton

Cary Slocum and Glenn Montgomery

Beverly and Ronald Smith

Shirley Stenberg

Helen B. Stern

Sandra and Terry Strine

Karen Sulzberger and Eric Lax

Sunset Knoll Landscaping

A. R. and Marylouise Tandy Foundation

Thendara Foundation

Susan and William Thomas

Alix T. Thorne

Louise Turan and William George Ann and Frederick Walker Sarah Welch and Jason Hearst Mary H. White Joan Wright and Howard Robbins

Gifts of Art

January 1 – December 31, 2021

In memory of Charles Francis Adams Winslow Homer (1836–1910)

The Life Brigade, 1883 Watercolor and pencil on paper 21 1/2 x 29 1/2 inches

Robert and Cindy Anderson in memory of Robert and Phyllis Anderson Saturday Evening Girls, Boston

41-piece set of tableware made for Beech Hill Farm in Rockport, Maine c., 1916

Jane Brown and Family Unknown maker Wood box

14 (h in front and sides, 25 back) x 36 x 22 1/2 inches

Purchased at Olson House auction, 1960s

Tommy Brown in memory of John Olson Tommy Brown (American, b. 1957) John Olson, 2019 Color photograph mounted on Sintra 20 x 30 inches

Artist’s proof

Pamela Canfield Grossman

Marguerite Zorach (1887–1968) Eden, 1917 Wool on linen 77 1⁄4 x 34 inches

Marguerite Zorach (1887–1968)

Untitled (Brown Horse) Wool on linen 21 x 32 inches

Marguerite Zorach (1887–1968) Untitled (Lion) Wool on linen

Marguerite Zorach (1887–1968) Untitled (Red Cow) Wool on linen 25 x 37 3/4 inches

Marguerite Zorach (1887–1968)

Untitled (Red Horse) Wool on linen 29 1/2 x 45 1/4 inches

Marguerite Zorach (1887–1968) Untitled (White Cow) Wool on linen 26 1⁄2 x 35 1/2 inches

Mr. William D. Hamill and Family

Jesse Salisbury

Torqued Obelisk, 2015 Carved Sullivan granite 15 x 10 x 10 feet

Frederic and Jane Hamilton

Andrew Wyeth (American, 1917–2009) The Kitchen Door Watercolor on paper 21 x 29 inches

Stephen Israel

Samuel Rolt Triscott

Untitled (grey surf and gulls), late 19th/early 20th century Watercolor on paper Sight: 14 7/8 x 19 1/8 inches

Samuel Rolt Triscott

Untitled (Landscape with Blue Mountains), late 19th/early 20th century Watercolor on paper Sight: 9 x 13 1/4 inches

Samuel Rolt Triscott

Untitled (Marsh and Big Sky), late 19th/early 20th century Watercolor on paper Sight: 17 1/2 x 27 inches Frame: 26 1/2 x 36 x 3/4 inches

Samuel Rolt Triscott

Untitled (Mountain with Lake), late 19th/early 20th century Oil on canvas Sight: 16 1/2 x 34 1/2 inches

Ms. Rosalind Avnet Lazarus

Louise Nevelson (1899–1988) Atmosphere and Environment II, 1966 Painted aluminum 96 x 50 x 26 1⁄2 inches

John R. and Joyce McC. Hupper

Andrew Wyeth (American, 1917–2009)

The Wreck on Donut Point

Watercolor on paper

22 1/4 x 30 1/4 inches

Phyllis and Kendall Merriam

Unknown maker

Hand-carved wooden yoke

2 x 38 x 5 1/4 inches

Purchased at Olson House auction, 1960s

Gael Newton

Alfred Steiglitz

Portrait of John Marin

Gelatin silver print

8 x 10 inches

Parent Fine Art Gallery

Neil Parent (American, b. 1946)

Greenlaw Corner, ca. 1977–78

Black and white photograph

11 1/2 x 17 1/2 inches

David Porter

Eliot Furness Porter (1901–1990)

Cactus Wren, Arizona, 1941

Gelatin silver print

7 1/4 x 8 7/16 inches

Eliot Furness Porter (1901–1990)

Field Sparrow, Illinois, 1941

Gelatin silver print

Eliot Furness Porter (1901–1990)

Meadowlark, Illinois, 1941

Gelatin silver print

7 5/16 x 9 1/4 inches

Eliot Furness Porter (1901–1990)

Olive-backed Thrush, 1941

Gelatin silver print

7 1/4 x 9 1/4 inches

Joel Rosenkranz

Robert Laurent (American, 1890–1970)

Wrestlers, ca. 1925

Lithograph

10 x 15 inches

Edition: 3 of 20

Ken Shure and Liv Rockefeller

Neil Parent (American, b. 1946)

Greenlaw Corner, ca. 1977–78

Black and white photograph

17 1/2 x 11 1/2 inches

John and Renata Stevens

Joseph Rodefer DeCamp (American, 1858–1923)

The Kreutzer Sonata (The Violinist II), 1912

Oil on canvas

48 1⁄4 x 40 1⁄4 inches

Joseph Rodefer DeCamp (American, 1858–1923)

The Listener (Woman at the Theatre), ca. 1904 Oil on canvas

24 x 20 inches

Joseph Rodefer DeCamp (American, 1858–1923)

Portrait of a Young Lady, ca. 1896–98

Oil on canvas

28 1⁄4 x 22 1/8 inches

Bequest of Betsy James Wyeth Trust

Donald Pywell (American, 1944–2016)

Dr. Syn, 1981

Mixed media sculpture

Vitrine with base dimensions 15 7/8 x 15 7/8 x 20 inches

Kim Sessums, M.D.

Bust of Andrew Wyeth

White plaster cast for The Road Less Traveled, 1996

Approximately 18 x 14 x 12 inches

Andrew Wyeth (American, 1917–2009) Geraniums, 1960

Drybrush watercolor on paper 20 3/4 x 15 1/2 inches

Andrew Wyeth (American, 1917–2009) Room after Room, 1967 Watercolor on paper 28 7/8 x 22 7/8 inches

James Wyeth (American, b. 1946) 10W30, 1981 Mixed media on paper 23 x 31 inches

James Wyeth (American, b. 1946) Andy Warhol on White (Andy Warhol Study), 1976

Watercolor on cardboard 40 x 38 inches

James Wyeth (American, b. 1946) Bell Tower, 1963 Watercolor on paper 23 x 18 1/2 inches

James Wyeth (American, b. 1946) Brandywine Raceway, 1989 Oil on panel 40 x 30 inches

James Wyeth (American, b. 1946) Broken Christmas Tree Ball, 1961 Watercolor on paper 8 1/2 x 14 1/2 inches

James Wyeth (American, b. 1946) Drink, 1999 Mixed media

James Wyeth (American, b. 1946) Island Roses, 1968 Watercolor on paper 19 3/8 x 24 3/8 inches

James Wyeth (American, b. 1946) Islander, 1975 Oil on canvas

34 x 44 3/8 inches

James Wyeth (American, b. 1946) Meteor Shower, 1993 Oil and essence of pearl on panel 38 x 48 inches

James Wyeth (American, b. 1946) Portrait of Andrew Wyeth, 2001 Pencil, mixed media on paper

James Wyeth (American, b. 1946) Rockland Light, 1960 Watercolor on paper 10 5/8 x 18 1/4 inches

James Wyeth (American, b. 1946) Roof Leaks, 1959 Watercolor on paper 19 1/2 x 13 1/2 inches

James Wyeth (American, b. 1946) Shorty, 1963 Oil on canvas 18 x 22 inches

James Wyeth (American, b. 1946) Shorty, Study (2 heads) Pencil on paper

James Wyeth (American, b. 1946) Shorty, Study (4 heads) Pencil and charcoal on paper 22 3/4 x 29 inches

James Wyeth (American, b. 1946) Toadstools, 1960 Watercolor on paper 7 1/4 x 10 1/8 inches

James Wyeth (American, b. 1946) Weathervane, 1959 Watercolor on paper 22 1/2 x 14 inches

James Wyeth (American, b. 1946) White Wash, 1967 Oil on board 14 x 17 3/4 inches

James Wyeth (American, b. 1946) Wicker, 1979 Oil on board 22 x 29 inches

N.C. Wyeth (American, 1882–1945)

Cleaning Fish, 1933 Oil on canvas 47 5/8 x 51 3/4 inches

N.C. Wyeth (American, 1882–1945)

Fisherman’s Family, prior to 1935 Oil on canvas 60 x 71 3/4 inches

N.C. Wyeth (American, 1882–1945)

Fisherman’s Family Study, prior to 1935 Oil on canvas 51 7/8 x 41 5/8 inches

N.C. Wyeth (American, 1882–1945) The Harbor at Herring Gut, 1925 Oil on canvas 43 x 48 1/8 inches

N.C. Wyeth (American, 1882–1945) Lobsterman, 1927 Oil on canvas 59 7/8 x 78 1/2 inches

N.C. Wyeth (American, 1882–1945)

Untitled Coastal Scene, (Port Clyde Harbor), 1933 Charcoal on paper 47 1/2 x 51 1/2 inches

Memorials and Tributes

In Honor of Linda Bean Katheryn Biberstein, Jane and Edward Bradley, Rita and Thomas Saliba, Lynn and James Shaffer Jeannette Chaffee Smith and Walter Pyle Smith

In Honor of Stephanie Brown Andrew Goodearl

In Honor of Christopher J. Brownawell Mary Alice and John Bird

In Honor of the Cattani Family Curtis Spalding

In Memory of Julie P. Cawley The Ronald & Jo Carole Lauder Foundation

In Memory of David Christian Robert Bush

In Memory of Kennedy Crane III Susan Goodridge Crane

In Memory of Fellowes Davis, Teacher of Art History, Pingree School Leigh and Rothwell Pool

In Honor of Edith R. Dixon Kristine Giles and William Knuff

In Memory of My Brother Jim Mary Ann Roberts and William Babcock

In Honor of Michael K. Komanecky Katherine and Eric Baumgartner

Martha Wyeth and Lyle Elkins Anna Mae Twigg

In Honor of George and Cynthia Lee Roberta and Richard Wright

In Memory of Diane Althoff Love Ann Rutherford and Bruce Lively Carole and W. Patrick Hughes

In Memory of Bill Millar Maxine Whalen Millar

In Memory of Elizabeth S. Saltonstall, in Honor of Betsy and Nat Saltonstall Sibley-Saltonstall Charitable Foundation

In Honor of Slab City Artists and Judith Stein William Bissell

In Honor of Board Member Ron Stern Hildy Simmons and David Sprafkin Arthur Adelberg Deena Schneider

In Honor of Michael Thacker Key Bank Foundation

In Memory of Betsy Wyeth Mary and Michael Landa

In Honor of Phyllis Wyeth and Linda Bean Anna B. McCoy and C. Patrick Mundy

In Honor of Rachel and Jay Zoller Mary Ellen and James Rudolph

Every effort is made to ensure that the information included is accurate. If any inadvertent errors or omissions have occurred, kindly notify Ann Scheflen, Chief Advancement Officer, so that we may correct our records.

500 student art kits for local schools to ensure creativity thrives during ongoing pandemic

Membership

Support the Farnsworth in its mission to celebrate Maine’s role in American art and receive free admission and other important benefits all year long.

Patron

Leadership-level members support critical curatorial and education initiatives and enjoy behind-the-scenes tours and exclusive benefits.

Museum Fund for Excellence

Annual fund donors keep exhibitions strong, education accessible, and fund our commitment to deliver free community programs as well as free admission to Rockland residents.

Business Partners

Support the museum through your business or corporation and receive valuable recognition opportunities for your business, employees, and clients.

Exhibition Education Development Fund

Support a season of exhibitions and related educational programs at the museum or help fund our model education outreach.

Gifts of Art

Donations of art, or contributions to purchase art, expand our collection and mission. Donations of artwork are reviewed for acceptance by our curatorial team and board.

Lucy Farnsworth Circle

Provide a lasting legacy at the museum through a bequest, lifetime, or estate gift. Or, make a gift now that perpetuates your annual support far into the future.

Endowment

Establish a new fund, or add to the principal of an existing fund, to provide a reliable source of annual income that sustains the Farnsworth forever.

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