Farnsworth Fall 2017 Magazine by Farnsworth Art Museum

2017/2018 BOARD OF TRUSTEES

Charles Altschul, President FALL 2017

FARNSWORTH MAGAZINE VOLUME 16, FALL 2017

Ed Waller, Vice President Ron Stern, Secretary Susan M. Deutsch, Treasurer Richard Costello

Farnsworth is a publication and member benefit of the Farnsworth Art Museum

Sylvia A. de Leon Victoria Clark Dibner Victoria Goldstein

(cover) Pedro E. Guerrero (1917-2012)

Connie Hayes

Louise Nevelson at the Lippincott Foundry,

Gerald A. Isom

(detail), New Haven, Connecticut, 1979

Jean Kislak

Pigment print on paper

Lawrence J. Lasser

Estate of Pedro E. Guerrero, Courtesy of

Ann M. Rothschild

Edward Cella Art + Architecture

Susan Schreiber

Image courtesy of Dixie Guerrero

Kenneth Shure

James P. Smith, Jr. Susan Allen Thomas

The Farnsworth Art Museum is a 501(c)

Louise Turan

(3) nonprofit organization supported by

Laura Wack

generous donations from the public Presidents Emeritae/i Richard Aroneau Gail Catherine Bertuzzi H. Allen Fernald Anne W. Jenkins Wickham Skinner Ex Officio Christopher J. Brownawell, Director

Director Chris Brownawell next to a banner from the Farnsworth-led initiative Rockland: The Arts Capital of Maine.

THERE ARE SO MANY REASONS TO VISIT THIS FALL!

These new exhibitions as well as Andrew Wyeth at 100 and

After a spectacular summer filled with major exhibitions by

Marguerite Zorach: An Art-Filled Life will continue through the

Andrew Wyeth and Marguerite Zorach, the Gala, studio classes,

end of the year – don’t miss this remarkable group of shows and

lectures and other great programs, we now turn our attention to

see for yourself why the press and public are so impressed.

a new season of outstanding exhibitions, programs and events. This fall we will also present a full schedule of studio classes We begin with three exhibitions. Black and White: Louise

and lectures. Go online to farnsworthmuseum.org which

Nevelson/Pedro Guerrero features signature examples of

details our many educational opportunities. Also, the Fall Family

Nevelson’s work that revolutionized artists’ ideas of what

Festival is a wonderful event scheduled for Saturday, October

sculpture could be. In 1978-1979 Guerrero photographed her

14. All are invited to join us for this fun, family friendly party.

at work and home, offering an intimate look at the fascinating life of one of the most important sculptors of the 20th Century.

The Farnsworth continues its tradition of presenting the highest

Andrew Wyeth: Her Room continues our centennial celebration

quality programs for our growing audience. More than ever,

of the artist’s birth. This exhibition explores the artistic process.

Rockland leads as the art capital of Maine!

Wyeth would painstakingly follow to explore a subject, making copious studies before completing the painting. Her Room and

Thank you for your continued generosity and support. I look

many of the preparatory sketches leading up to the final tempera

forward to seeing you at the Museum soon.

will be on view in the Wyeth Study Center Gallery. To round out the schedule, Jamie Wyeth: Portraits of the Kennedys presents

Sincerely,

a selection of studies the artist made of JFK and Robert Kennedy. 2017 also marks the 100th birthday of President Kennedy. Christopher J. Brownawell, Director

Celebrate fall at the Farnsworth!

EXHIBITIONS + COMMUNITY EVENTS

October FRIDAY, OCT. 6 Community Opening! BLACK AND WHITE Louise Nevelson/ Pedro Guerrero Crosman Gallery SATURDAY, OCT. 14 4-6 pm FALL FAMILY FESTIVAL FREE FAMILY EVENT Farnsworth Campus

FRIDAY, OCT. 6 Community Opening! JAMIE WYETH The Kennedy Studies Crosman Gallery Corridor

November

December SATURDAY, NOV. 25 10 am-1 pm SHARE THE WONDER FREE FAMILY EVENT Farnsworth Campus

SATURDAY, DEC. 16 Exhibition opens ON A MOUNTAIN IN MAINE Library Gallery

T O P I M A G E : Pedro E. Guerrero (American, 191-2012) Louise Nevelson Gazes at Her Artwork, New York, 1978, Courtesy of Dixie Guerrero © 2017 Pedro E. Guerrero Archives S E C O N D I M A G E D O W N : Jamie Wyeth (American, born 1946), Senator Robert F. Kennedy Reading, 1966, Pencil on paper, 13 ½ x 10 ½ inches, Collection of Jamie and Phyllis Wyeth (WSC) B O T T O M R I G H T I M A G E : Alan Bray, Losing the Edge, 1991, casein on panel, Museum purchase, 1991.22

BLACK AND WHITE: LOUSIE NEVELSON AND PEDRO GUERRERO OPENS OCTOBER 7, 2017

Louise Nevelson: Rockland and the Farnsworth ALTHOUGH LOUISE NEVELSON IS RIGHTLY

recognized as one of Americaâ&#x20AC;&#x2122;s most important

sculptors of the twentieth century and one of the most significant women artists the nation has

produced, few people know that she grew up in

the small coastal village of Rockland, Maine. Born Leah Berliawsky in Pereyaslav, near Kiev, in what was then part of the Russian Empire, she arrived

here in 1905 at the age of six, when she and the rest

of her family joined her father, Isaac, who had come to Rockland in 1902. Isaac and other members of his family came to the United States in search of a better life than was possible for Jews in Tsarist

Russia, where they were regularly subjected to both discrimination and violent anti-Semitism. Isaac

became a successful businessman, as a lumber yard

owner, builder, and developer, eventually becoming the fourth highest taxpayer in Rockland. Thus Louise, as she came to be known, her brother

L E F T : Photographer unknown. Louise Nevelson, 1922. Louise Nevelson papers,

circa 1903-1979. Archives of American Art, Smithsonian Institution. R I G H T : Louise Nevelson, Dawn Column I, 1959, Museum Purchase, 1979.81

A B O V E : Photographer unknown. Berliawsky Family Portrait, c. 1907. Louise Nevelson papers, circa 1903-1979. Archives of American Art,

Smithsonian Institution. From L to R: Anita, Nathan, Isaac, Lillian, Minna, Louise

Nathan, and sisters Anita and Lillian, all of whom

thought of it before?”

Rockland’s public schools and trying to fit into the

she chose art as one of her elective subjects. Her

spoke Yiddish, grew up in relative comfort, attending predominantly white and Protestant town.

Louise’s initial discovery of art took place at age

nine in the Rockland Public Library. In the Library rotunda she saw a plaster cast of Joan of Arc, the

popular medieval French heroine of whom numerous sculptures were produced in America and Europe

around the turn of the twentieth century. As Nevel-

son later reported, the librarian struck up a conversation with her and a friend. The librarian asked both

of them what they wanted to be when they grew up, to which Louise replied “I’m going to be an artist,” and, perhaps influenced by her admiration for the

Joan of Arc plaster, proclaimed, “No, I want to be a

sculptor. I don’t want color to help me.” So frightened by her unexpected reply, she ran home crying, asking herself “How did I know that when I never

When she entered Rockland High School,

teacher was Lena F. Cleveland, a Camden native, who had studied art at Pratt Institute in New York. Louise took a drawing class in her first term, learned to

do watercolor, and became more and more interested in art. Cleveland and her other teachers saw talent in the young student. Nevelson later recalled that

“From the first day in school until the day I gradu-

ated, everyone gave me 100 plus in art. Well, where

do you go in life? You go to the place where you get 100 plus.”

Her life as an artist began in earnest after

she married shipping company executive Bernard

Nevelson in 1920 and moved to New York. In 1929 she began studying at the Art Students League, a

school whose teachers included some of the country’s most important artists. In 1931 she went to Munich

“I’m going to be an artist,” and, perhaps influenced by her admiration for the Joan of Arc

plaster, proclaimed, “No, I want

to be a sculptor. I don’t want color to help me.” So frightened

by her unexpected reply, she

ran home crying, asking herself

“How did I know that when

I never thought of it before?”

Larsen, Courier Gazette Staff Photographer. Nevelson Dining Room, Hotel Thorndike, 1974. Farnsworth Art Museum, Nevelson Archives.

Diana MacKown. Berliawsky House on Linden Street, c. 1960. Farnsworth Art Museum, Nevelson Archives.

O P P O S I T E : Thirtieth Street House, Parlor Floor, c. 1956-57. Farnsworth Art Museum, Nevelson Archives.

Louise Nevelson, The Endless Column, 1969-1985, Painted wood, Bequest of Nathan Berliawsky, 1980.35.30

to study with the influential avant-garde artists Hans

more than anything else, however, her inclusion in

year to continue her studies at the Arts Students

ground-breaking environment entitled Dawn’s Wed-

Hofmann, then returned to New York the following League. In 1933 she worked as an assistant to the

famed Mexican muralist Diego Rivera, and the following year studied sculpture with sculptor Chaim

Gross, while also teaching classes in Yiddish. Like many artists during the Depression, she was hired

under a Works Progress Administration program and taught art in Brooklyn and New York.

She had her first solo show in New York in 1941,

and quickly began to establish her reputation, enjoying critical success though selling little. Her family

was a constant source of support during this period, including in 1945 when they purchased a house for her on East 30th Street in New York. Travels to

Mexico and Guatemala in the early 1950s exposed

her to Pre-Columbian art, which along with that of Africa and India strongly influenced her work. By

the late 1950s Nevelson established her reputation as

one of America’s most talented and innovative sculptors, eventually working in a variety of materials –

aluminum, plastic, Cor-ten steel, and, above all, wood. She created wall reliefs, free-standing sculptures,

MOMA’s 1959 exhibition Sixteen Americans with her ding Feast catapulted her to international fame. In

1962 she became the first American woman to have her work shown at the prestigious Venice Biennale exhibition.

Even as her fame grew, Louise maintained her

connection to Rockland, returning regularly to

visit her siblings and their families. In 1979 the

Farnsworth Art Museum’s director Marius Peledeau mounted its first exhibition of Rockland’s most

famous artist, and another in 1985. The museum’s

attention and that of the town she had once called

home had an unexpected effect on her. She remarked at the opening of her 1979 show, “When I was

growing up in Rockland from grammar school to

high school, there was no museum. One of the great

joys of my life is that we have a first-rate one now – a beautiful building that encloses creative works that

can stand with the great ones. That is something that I had not expected in my wildest dreams to find in a town in Maine – that jewel that shines.”

Between 1981 and 1985 Nevelson and other

and large wall-sized boxes. Frequently making them

members of her family donated more than eighty

she painted them in gold, black, or white, and reas-

jewelry to the museum. Together with subsequent

from pieces of wood she found on New York’s streets, sembled them into poetic combinations of abstract geometric forms. Her works were acquired by the

Whitney Museum of American Art, the Brooklyn

Museum, and the Museum of Modern Art. Perhaps

paintings, prints, drawings, sculptures, and pieces of gifts and purchases, the Farnsworth now has the

world’s second largest collection of the artist’s work,

examples of which are included in this exhibition. n

BLACK AND WHITE: LOUSIE NEVELSON AND PEDRO GUERRERO OPENS OCTOBER 6, 2017

Pedro Guerrero: Beginnings remarkable sixty-year career, he photographed houses designed by some of the most illustrious American architects and artists of the twentieth century such as Marcel Breuer, Philip Johnson, Edward Durrell Stone, whose clients included Andy Warhol, Richard Avedon, Irving Penn, and Alexander Calder. Among these clients were those who Guerrero described as three of America’s greatest artists – Calder, Frank Lloyd Wright, and Louise Nevelson. Like Louise Nevelson, Guerrero came to what would be his life’s work from the most modest of beginnings. He was born in 1917 in a one-room shack in Mesa, Arizona, where he lived with his mother, father, and older brother Adolfo. As the family grew, his father expanded the house by adding another room. Of Mexican heritage, Guerrero soon became aware of his lesser status in what was once part of Mexico. Mesa schools, he related, “practiced triple segregation,” with separate schools for African-Americans and Mexicans, with the best facilities reserved for Anglos in the predominantly Mormon enclave of Mesa. Segregation and discrimination touched every part of his early life. OVER THE COURSE OF PEDRO E. GUERRERO’S

His growing interest in art led him to leave for Los Angeles on his twentieth birthday to study at the Art Center School where his older brother had already enrolled. Learning upon his arrival that all the art classes were filled, he signed up to take a photography course. In 1939, though, unhappy with the school’s restrictive approach, he returned to Mesa. His father, who years before had painted a sign for famed architect Frank Lloyd Wright’s nascent architectural practice in nearby Scottsdale, suggested Pedro pay Wright a visit to see if he might need a photographer. Wright (1867-1959), then seventy-two, was enjoying a sudden revival of interest in his work, and clients who wanted him. Pedro’s father arranged an appointment for him, and so he went to the desert encampment where Wright was in the process of creating his home, studio, and school complex known as Taliesin West, a winter retreat from his Spring Green, Wisconsin complex known as Taliesin. After showing Wright his work, the architect asked him

what he was doing. “I’m unemployed,” Guerrero replied. “Would you like to work for us? We’ve just lost our photographer.” “I’d love to work for you, but as you can see, I have a lot to learn,” said Guerrero. “I’ll teach you,” said Wright, and so began the work that began Guerrero’s career as one of the country’s foremost architectural photographer. He traveled throughout the country photographing Wright’s work, and that of other major twentieth-century American architects, leading to his 1994 book, Picturing Wright. WORKI N G W I T H A RT IST S Guerrero’s architectural work for various magazines, and his growing reputation, created another unexpected opportunity. In 1963 House and Garden’s kitchen editor asked him to photograph famed sculptor Alexander Calder (1898-1976) in his Roxbury, Connecticut home and studio. Though the assignment was to photograph the sculpture

A B O V E : Frank Lloyd Wright and Guerrero, Pleasantville, New York, 1949.

“I’d love to work for you, but as you can see, I have a lot to learn,” said Guerrero. “I’ll

teach you,” said Wright, and so began the

work that began Guerrero’s career as one of the country’s foremost architectural photographers.

Pedro E. Guerrero (American, 1917-2012), Louise Nevelson Gazes at Her Artwork, New York, 1978, Courtesy of Dixie Guerrero ÂŠ 2017 Pedro E. Guerrero Archives

R E LAT E D P R O G R A MMI N G

Unexpected Journeys: Louise Nevelson and Pedro Guerrero Thursday, December 7, 2 p.m. Cost: $10, $8 members

This presentation by chief curator Michael Komanecky will explore the work of sculptor Louise Nevelson and photographer Pedro Guerrero, the reputations they forged during their long and productive careers, and how early life experiences shaped their artistic personae.

for a story, “A Man’s Influence in the Kitchen,” Guerrero immediately saw something that he felt was far more important to photograph. He took a few shots of what Calder designed and made for his kitchen – everything from cabinets to serving forks – photographs his editor didn’t want to use, and so the story was dropped. What resulted, however, was what he described as “a thirteen-year relationship with Calder that would rival my two decades with Frank Lloyd Wright.” Calder, his house, his art, and his world, thus became the subject of a large and important body of Guerrero’s work. LO UISE NEVELS ON His work with Calder having come to an end, Guerrero approached a publisher about a book on Calder, and discussions followed about a three-part book, on Calder, Wright, and Andrew Wyeth. Guerrero got in touch with his friend, Jean Lippman, founder and long-time editor of Art in America magazine, whom he hoped would be able to introduce him to Wyeth. When the two friends met for lunch and he asked for Lippman’s help, she asked him, “Why do you want to meet him? His home is a bore, his work is a bore, and he’s a bore. Who you need to meet is Louise Nevelson. I’ll have you both for dinner.” Lippman may well have had an ulterior motive in directing Guerrero toward Nevelson: she was planning a book to coincide with a 1980 Whitney Museum of American Art retrospective on Nevelson’s work. In any event, the date was set and they met at a fashionable midtown New York restaurant. As Guerrero recalled, “Louise was a sight to behold, swathed in layers of fabric from head to toe. She floated across the room, extending her hand in

greeting while batting inch-long false eyelashes. She was seventy-six when we met and still dazzling.” The two hit it off immediately, and he got access to Nevelson, her New York home and studio, and her work being fabricated elsewhere, all the photographs of which were available for the Whitney Museum project. Guerrero found the commission exciting but unexpectedly difficult. “I was sixty-two years old and had been a photographer for forty years when I started photographing Louise and her work. By then I thought that I had met every photographic challenge possible, but I had never encountered the technical difficulties of photographing Louise’s world…Rooms painted black and furnished with black objects posed the greatest challenge. These spaces consumed light; I had to figure out how to make one black object stand out from the next, to show that it had texture and depth.” Guerrero rose to the challenge, and his photographs were included in Lippman’s book, Louise Nevelson: Atmospheres and Environment, the introduction to which was written by Nevelson’s long-time friend, playwright Edward Albee. Guerrero’s accomplishment was to capture both Nevelson’s “dazzling” very carefully constructed persona and the extraordinary living and working environments she created around her. A selection of Guerrero’s photographs of Nevelson and her work, including not only those in black and white but also some of his rare color works, all vintage prints, are in this show. This is the first time Guerrero’s and Nevelson’s works have been brought together, and are on loan thanks to the generosity of his widow, Dixie Guerrero, with the support of the extended Guerrero family and Los Angeles dealer, Edward Cella Art & Architecture. n

JAMIE WYETH: THE KENNEDY STUDIES

OPENS OCTOBER X, 2017

JAMIE WYETH:

T he Ken n edy St u di e s May 29, 2017, marked the 100th birthday of John F. Kennedy, America’s 35th president, whose assassination in Dallas in 1963 shocked and saddened the world. Many who were alive at the time can still remember where they were and what they were doing when they heard the news of his death. Three years after the horrific event, twenty-one-year old Jamie Wyeth embarked on a series of preparatory sketches for a posthumous portrait of the president known for his eloquence, diplomacy, and optimism. The challenge, of course, was not only to portray a man Wyeth never met, but also to paint the portrait of such a well-known public figure. Kennedy would have been fifty years old in 1967 when Wyeth completed the painting, now also fifty and recently acquired by Boston’s Museum of Fine Arts.

For two years Wyeth took on intensive research, immersing himself in photographs, articles, and films depicting JFK as he commenced his drawings for the portrait. In order to understand as much as possible about the president’s mannerisms and speech patterns shared in common with his younger brothers, Wyeth also spent many hours sketching Robert and Edward Kennedy during their day-to-day activities. Wyeth said in an interview soon after the portrait was completed, that he had “wanted the president’s face so engraved in my mind that I could place him in any situation I wanted.” Several of these candid pencil studies of the Kennedy brothers, and a color study of JFK made in preparation for his now famous portrait, will be on view at the Farnsworth this autumn. n

A B O V E : Portrait of President John F. Kennedy, Oil Study, 1967, Oil on canvas, 14 x 18 inches, collection of Jamie and Phyllis Wyeth

“I wanted the president’s face so engraved in my mind that I could place him in any situation I wanted.” - JA M I E W Y E T H T H I S P A G E : Portrait of JFK-Study with Four Images, 1966, Pencil on paper, 13 ½ x 10 ½ inches, collection of Jamie and Phyllis Wyeth

O N A M O U N TA I N I N M A I N E O P E N S D E C E M B E R 1 6 , 2 0 1 7

ON A M O U N TAIN I N MAIN E Maine’s landscape has been a source of inspiration for artists for two centuries, including its mountains from the coast to the interior. On a Mountain in Maine will explore the physical, spiritual, and cultural landscape of Maine’s mountains and the spell-binding power that has captured the public imagination as expressed through painting, poetry, and literature.

nspiration drawn from one’s geographic surroundings – mountains in particular – is a phenomenon that goes back centuries, even millennia, to Native American and other Shamanic cultures whose reverence and respect for mountains impacted every aspect of their daily lives. In many cultures, the power of mountains symbolize the connection between heaven and earth, referred to by noted historian Mircea Eliade as the “cosmic mountain,” invested with power by virtue of its lofty permanence, a symbolic axis mundi acting as the ladder connecting humanity with god.

Mountains such as Katahdin and the comparatively diminutive Mt. Kineo are renowned within the state of Maine for their beauty and spiritual powers. They continue to attract seekers who travel from near and far to partake of the mountains’ beauty, glory, and wrath. Two such seekers represented in this show are the artists Marsden Hartley (1877-1943) and Carl Sprinchorn (1887-1971). Hartley, who was born in Lewiston, Maine, believed that an artist could express emotions and spirituality through art, particularly

Marsden Hartley (1877-1943) Song of Winter #6, 1908-1909, Oil on board, 8 7/8 x 11 7/8 inches, Gift of Mrs. Elizabeth B. Noyce, 1996.13.5

Andrew Winter, Monhegan Twilight, c. 1943, Oil on canvas

R E LATED PROGR AMMIN G

Gallery Tour: On a Mountain in Maine Wednesday, December 27, 2 p.m. Free with admission

Registrar Angela Waldron, who organized this exhibition, will explore the physical, spiritual, and cultural landscape of Maine’s mountains as depicted in paintings, poetry, and literature.

in the depiction of mountains. For him, mountains with their eternal rock-solid permanence and lofty grandeur represented the highest and most noble ideals of the human spirit. In Hartley’s oil painting from 1908-09, Song of Winter No. 6, his use of bold, vibrant color harnesses the energy and magnetic lure of Mt. Katahdin and speaks not only to his own spiritual beliefs but also to the influence of European modernism on his work. Sprinchorn, who was born in Broby, Sweden, defied artistic convention of his time by fully immersing himself in his Maine subject matter. For over ten years he lived the hardscrabble life of a Maine backswoodman in a cabin on Shin Pond, at that time the last outpost of human civilization before entering the vast Katahdin wilderness, joining the rugged group of hunters and men who worked in the logging industry. It was during that time he painted his seminal 1948 work Logger’s Cabin by the Stream, one of three versions he did exploring the juncture of nature and human interaction. The setting is thought to be either a camp on the East Branch of the Penobscot River facing Billfish Mountain, or looking across Trout Brook Branch towards Burnt Mountain. This exhibition, organized by Farnsworth Registrar Angela Waldron, will be primarily drawn from the museum’s collection, and will feature works by Fitz Henry Lane, John Joseph Enneking, Marsden Hartley, James Fitzgerald, Andrew Winter, and Carl Sprinchorn. In addition, literature such as Don Fendler’s Lost on a Mountain in Maine, Edna St. Vincent Millay’s prize winning poem Renascence, Marsden Hartley’s poetry, and Wabanaki myth and legend will be explored. n

R I G H T : James Fitzgerald (1899-1971) Katahdin South Side, c. 1960

Watercolor on paper, 20 x 26 inches, Gift of Robert E. Kulp, Jr. in memory of Margaret Barr Kulp, 2014.5.2

ANDREW WYETH: HER ROOM OPENS SEPTEMBER 23, 2017

WYETH STUDY CENTER

ART ON THE GO The centennial of Andrew Wyeth’s birth has

provided a very busy year for the Wyeth Study Center staff at the Farnsworth. With several

exhibitions centering on Andrew Wyeth at the Farnsworth and across the country, staff at the

Wyeth Study Center has been preparing artwork for travel as well as giving lectures and gallery

talks supporting the Farnsworth’s Andrew Wyeth at 100 exhibitions. In addition, the updated Andrew Wyeth, Her Room, 1963, Tempera on panel Farnsworth Art Museum; Museum Purchase, 1964.1313 © 2017 Andrew Wyeth/Artists Rights Society (ARS)

www.andrewwyeth.com website was recently launched.

The fifth and final exhibition of the Farnsworth’s celebration of Andrew Wyeth at 100 opens September 23, 2017. Andrew Wyeth: Her Room will be on exhibition in the Wyeth Study Center

Gallery through April 1, 2018. The 1963 tem-

pera, Her Room, is accompanied by a selection of preparatory studies and objects depicted in the painting. It is a must see exhibition to wrap up Andrew Wyeth at 100 at the Farnsworth!

A B O V E : Her Room on display in Queens, New York, representing Maine in the 1964 World’s Fair.

.he tempera, Her Room, has done quite a bit of traveling itself. After it was purchased

by the Farnsworth in 1964, Her Room traveled to Massachusetts and was on display at the Boston

Safe and Deposit Trust Company’s main banking floor for a week prior to its debut at the Farn-

sworth. It then traveled to Queens, New York,

representing Maine in the 1964, World’s Fair Day of Maine (see photo above). Two years later Her

Room toured the country with stops in Philadelphia, Baltimore, New York, and Chicago. The

1970s saw the painting return to Boston, this time for display at the Boston Museum of Fine Art

and then to San Francisco before its international debut at the National Museum of Modern Art

in Tokyo followed by another stop in Kyoto.

Her Room returned to the US in 1974 and was

exhibited in Denver and Portland, Maine before returning to display at the Farnsworth. In 1980, it crossed the Atlantic for an exhibition at the

Royal Academy of Arts in London, before returning for exhibitions in Portland, Maine and The Huntington Library, Art Collection, and Bo-

tanical Gardens. During the 90’s Her Room was

in steady rotation at the Farnsworth and then traveled to Bates College for an exhibition organized by Andrew Wyeth’s granddaughter, Victoria in

2000. The new millennium found Her Room traveling to Atlanta, Philadelphia, Fort Wayne, Glens Falls, Kalamazoo, and Connecticut. n

Christina’s Windows RESTORING THE SOUL OF THE OLSON HOUSE

It is through the upstairs bedrooms where Wyeth set up his makeshift studio that you see the landscape he depicted in Christina’s World. Another view from a window inspired the painting Wind From the Sea. Whether he was looking out, or looking in, the windows of the Olson House played an integral part in Andrew Wyeth’s many works at this now historic landmark. Important work has begun to restore and maintain these windows, but there is still work – and fundraising – to do.

Site of Andrew Wyeth’s iconic 1948 painting, Christina’s World and the subject of approximately 300 other works by Wyeth, the Olson House has a long history in its Cushing, Maine,

community. Over the course of almost three decades, from 1939 to 1968, Wyeth chronicled Christina and Alvaro Olson’s lives

on their farm and, by extension, the life of the house, capturing

in his work its slow deterioration and timeworn essence. When

the Farnsworth was deeded ownership of the house 26 years ago, it was greatly in need of restoration. Restoration activities at the house and on its surrounding grounds of approximately three

acres have been a priority for the museum: early on, a new wood shingle roof was installed and chimneys were repointed; more recently, a fire suppression system was installed; non-original, deteriorated clapboards on the south and east elevations and

deteriorated wood trim were replaced with historically accurate materials. Chief among remaining restoration needs are the windows, their condition a result of long-term exposure to

weather that has deteriorated their dimensions and stability. The museum will address the fragile condition of all interior and

exterior surfaces of the windows, restoring them to their original state and purpose: to protect and enhance the functionality

C L O C K W I S E F R O M T O P L E F T : 1: Condition of wood before treatment

2. Installing first layer of winter protection for the window openings at the Olson

of the house, a National Landmark and world-renowned

House 3. In the workshop, glass pane removal 4. In the workshop, glazing bar

destination for visitors. n

repair

YOUR HELP IS NEEDED! To date, the Farnsworth has received three grants for the pres-

That leaves 18 windows without funding. Please help

ervation of the Olson House windows. Eight windows were

us match the generous funds already received!

restored over the 2016-2017 winter months by the historic preservation team at Bagala Window Works of Falmouth, Maine, funded in part by a grant from Morton-Kelly Charitable Trust, received in December 2016. Ten more windows will be restored during the coming months, offsite in the Bagala workshops, thanks to additional grants from the Stephen and

Contributions of any size are welcome. All donors will be acknowledged on a plaque placed at the Olson House. Or, sponsor a window for $2,500! A plaque will be placed by the restored window designating your sponsorship. Your help is greatly appreciated!

Tabitha King Foundation and the Belvedere Historical Preserva-

BECOME AN OLSON HOUSE SPONSOR! >

tion Fund of the Maine Community Foundation, received in

For more information, please contact Kit Stone, Development Officer,

March and September of this year.

207-390-6014, kstone@farnsworthmuseum.org

O P P O S I T E : The Olson House, with its upper story windows removed for re-installation.

CREATING MEMORIES Farnsworth community events are the cornerstones of Rocklandâ&#x20AC;&#x2122;s holiday season

F A L L F A M I LY F E S T I VA L O C T O B E R 1 4 , 2 0 1 7

Free. Priceless. Every fall, people from all over the world flock to Maine to enjoy the best of what the season has to offer. And for the seventh consecutive

year, on Saturday, October 14, the Farnsworth will do its share, hosting

the annual Fall Family Festival for over three hundred children and their families beginning at 4 p.m.

The festivities will include free-style pumpkin carving, face painting,

crafts, and live music. “An art-museum can do much more than provide a building in which to view art works on the walls,” said Farnsworth Education Director Vas Prabhu. “We feel a responsibility to engage

the community in a myriad of ways, to give them a welcoming place to

express themselves creatively. The Fall Family Festival draws people from all over the midcoast to celebrate the harvest season in an exciting, fun and imaginative fashion.”

The highlight of the Festival is the yearly Mask and Puppet Parade,

facilitated by Portland’s Shoestring Theater. It is scheduled to begin at 5:30 p.m. so grab a noisemaker, borrow a mask, and join in the fun!

RELATED PR OGR AMMIN G

Mask and Puppet Making Workshop

Open Studio Sessions: Monday, October 9 (Columbus Day): 12 to 4 p.m. Tuesday through Friday, October 10 to 13, 2 to 6 p.m. FREE FOR PARTICIPANTS OF ALL AGES!

SHARE THE WONDER NOVEMBER 25, 2017

This holiday season will mark the twelfth year that the Farnsworth has invited the community to Share the

Wonder. The exhibition at the Wyeth Center, which will run from November 25 through the end of the year, will once again feature our large-scale model train set, and the one-day celebration will feature

hands-on activities, holiday music and prizes for young and old alike. Returning after a three-year hiatus will

be the Frogtown Mountain Puppeteers’ version of the 5-minute Grinch, a major crowd favorite.

“It’s easily our biggest day of the year, attendance-

wise,” commented Farnsworth Director Christopher

Brownawell. “We typically see upwards of 1,200 people in three to four hours. So many of them are families who make Share the Wonder their only visit of the

year. Share the Wonder and the Fall Festival have truly become traditions to them, opportunities to connect and to enjoy the magic of the season.

Saturday, November 25 10 am- 1pm FREE! The famous Farnsworth train display! Hands-on activities for kids of all ages! Back by popular demand: Frogtown Mountain Puppeteers and The 5-Minute Grinch! Free admission to the museum all day! Holiday music! Prizes! Prizes! Prizes!

â&#x20AC;&#x153;A major benefit of the events is that they bring people into the museum who otherwise might never visit.â&#x20AC;?

This past summer, the Farnsworth began its second major mural arts project in downtown Rockland, thanks to a grant from the National Endowment for the Arts. The new mural is located on School Street, on the south facing wall of The Grasshopper Shop—our collaborating wall-host. It was created by Rockland artist Alexis Iammarino, Canadian mural artist Melissa Luk, along with local teens, demonstrating the power of community art-making.

Community Creates Mural Only two short years after the Farnsworth went about organizing and funding a colorful mural on Oak Street in downtown Rockland, the museum’s education department began work on funding and organizing its second major mural arts project, thanks to a grant from the National Endowment for the Arts. Titled Water Town, the new mural is located on School Street, on the south facing wall of The Grasshopper Shop – the collaborating wall host. Created by local artist Alexis Iammarino and Canadian mural artist Melissa Luk, the mural has been realized with the talents of local teens and community volunteers.

Melissa Luk was born in Richmond, British Columbia. After graduating from the Ontario College of Art and Design University in 2012 she began making and thinking about art and how to get art into the hands and thoughts of ordinary people. She does this by making works that reach as far and freely as possible. “Mural art means painting outside. It allows people who normally don’t go in to galleries to see art being made, and to see art every day and it’s really important because then it becomes a part of their lives.”

Local teaching artist Alexis Iammarino supports a number of year-round community arts projects primarily through her studio at the Flanagan Community Building in Rockland. She works with various organizations doing community art work especially with middle- and high schoolers. “I like that it shows how talented the volunteers and the students are, that people see how capable the young artists in our community are. A project like this gives people who have never painted before encouragement to come and pick up a join in the fun.” n

EDUCATI ON

S T UDIO C L AS S E S

Inspired by the

Drawing and Painting for Ages 6 to 86 with Sam Cady Saturdays, October 7 to December 16, 1 to 4 p.m. (no class Nov. 25) Cost: $360; $300 members Many approaches are taught from different drawing-media to water-based painting. Working out of a personal, natural inclination is stressed more than a specific style or approach to making art. The class includes participants of all varieties and skill levels.

museum’s exhibitions and art world issues, education programs are offered throughout the year to inform the experience of works of art through lectures, tours, films, music, art making and community events.

MORE >

Mask and Puppet Making Workshop with Nance Parker Monday through Friday, October 9 to 13, afternoons FREE! Use your wildest ideas about creatures and myths to design and build a personal mask. Puppets will be created using sculpting clay, papier-mâché and wire, in addition to adding hand-sewn costumes. Open to all ages. MORE >

Intaglio Drypoint and Monotype Printing with Jason Engelhardt Monday through Friday, October 16 to 20, 10 a.m. to 2 p.m. Cost: $275, $235 members Using the drypoint technique, plexiglass plates will be incised with a needle tool, and in the monotype process, we will use semi-translucent ink on a blank plate and then selectively reduce the ink by wiping it away, as desired for the image. We will combine these two methods and utilize color theory to achieve a wider range of colors. MORE >

QUESTIONS? Vas Prabhu, Director of Education, vprabhu@farnsworthmuseum.org

Intaglio Drypoint with Jason Englehart

Mask Workshop

TALKS, TOURS & LECTURES

E V E NT S

Marguerite Zorach and the Modern Embroidery Movement Friday, October 20, 2 p.m. Cost: $10; $8 members Cynthia Fowler, professor of art history at Emmanuel College, will provide an examination of individual embroideries by Zorach that demonstrate her vision as a modern artist and set the stage for the modern embroidery movement. MORE >

FALL FAMILY FESTIVAL October 14, 4pm FREE! See article

Andrew Wyeth at 100 Thursday, November 2, 2 p.m. Cost: $10; $8 members In conversation with chief curator Michael Komanecky, art historian Henry Adams will take a look at the changing status of Andrew Wyeth’s critical fortunes, and consider what it reveals about our society and the American art world. MORE > Unexpected Journeys: Louise Nevelson and Pedro Guerrero Thursday, December 7, 2 p.m. Cost: $10, $8 members Chief curator Michael Komanecky will explore the work and reputations of sculptor Louise Nevelson and photographer Pedro Guerrero, and how early life experiences shaped their artistic personae. MORE >

Memory Gallery

Tour: On a Mountain in Maine Wednesday, December 27, 2 p.m. Free with admission Opening on Dec. 17, this exhibition explores Maine’s landscape as a source of inspiration for artists. Registrar Angela Waldron will explore the physical, spiritual, and cultural landscape of Maine’s mountains as depicted in paintings, poetry, and literature. MORE > Brilliant Interplay: The Art of Marguerite Zorach Saturday, January 6, 11 a.m. Free with admission Join curator Jane Bianco for a final lecture and tour of the exhibition Marguerite Zorach— An Art-Filled Life with a focus on Zorach’s fantasy garden settings of figures among flora and fauna. MORE > Memory Gallery The Farnsworth welcomes adults with memory loss, along with their care partners and/or loved ones, for a free gallery tour and social gathering each month. Share conversation about art on view with new friends. Fall tours will take place Thursdays, Oct. 26, and Nov. 16, 10:30 to 11:15 a.m. MORE >

MORE >

Music at Noon Bay Chamber Performances: Wednesdays, October 18 and November 15 at noon For performance details and ticketing, visit baychamberconcerts.org or call 207-236-2823. Enjoy a midday break with light lunch and lovely music in the relaxed, intimate atmosphere of the Farnsworth library for an hour-long performance presented by Bay Chamber Concerts. Ticket includes freshly-prepared lunch and access to the museum following the performance. MORE > Tophat Productions: Little Shop of Horrors Sunday, October 29, 2 p.m. in the Farnsworth library Cost: Free with admission. Seating is first come, first served.

singer, puts on an amazing one-man performance. When a timid florist shop worker realizes his venus flytrap can only survive on human blood and flesh, chaos and hilarity ensue. Worobec speaks all the voices and manipulates all the puppets on a meticulously detailed tiny stage. PechaKucha Midcoast Maine Friday, November 10, 7 p.m. Camden Opera House Cost: $5 at the door. Join us for another inspiring evening of presentations! The PechaKucha format is where 8 creative individuals show 20 slides (for 20 seconds apiece) to reveal their passions, process and inspirations. The Farnsworth is a proud partner organization. SHARE THE WONDER November 25, 10am-1 pm FREE! See article MORE >

ADVANCE REGISTRATION >

This horror comedy rock musical gets a miniature twist as David Worobec, a classically trained opera

Little Shop of Horrors

Pecha Kucha Night

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Farnsworth patrons enjoy the Patron Preview event

SWORTH ARN ME F A

Marguerite Zorach – An Art-Filled Life

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Y O U R M E M B E R S H I P M AT T E R S ! Thank you for being a Farnsworth Art Museum Member! Whether you have a General Membership Level (Individual $50, Family $75, Partner $150, Steward $250, or Sustainer $500) or a Patron Membership Level (Circle of 100–$1,000, Benefactor $2,500, or Fellow $5,000), we appreciate and rely on your support. FUN FACTS > We have more than 2,400 members from 37 states and the District of Columbia, as well as Canada and the United Kingdom. As a member, you help us “Celebrate Maine’s Role in American Art”. Thank you for making a difference!

We wish to thank you!

Join Angela Waldron, Registrar,

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Any season of the year is a wonderful

as she acquaints the viewer with

Mark your calendar for an additional

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On a Mountain in Maine

10% discount in the Museum Store,

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Friday, December 15, 2017 11:00 am

November 24, 2017 -December 1, 2017.

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are supporting a good cause! Check

Friday, October 6, 2017 11:00 am

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out our NEW website out at www.

Friday, October 6, 2017 2:00 pm

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207.596.6256.

Tuesday, November 21, 2017 11:00 am Tuesday, November 21, 2017 3:00 pm

DO YOU LOVE ART? DO YOU LOVE PEOPLE? We invite you to become a docent at the Farnsworth! The docents are volunteer tour guides who lead visitors in engaging discussions about the museumâ&#x20AC;&#x2122;s collections and exhibitions. Serving as museum ambassadors, they are an important link to our community. WHO ARE THE FARNSWORTH DOCENTS? Our docents are men and women from a wide variety of disciplines. What unites them is an enthusiasm for being life-long learners, engaging with the public, and the wonderful camaraderie of sharing their love of art with each other and with visitors of all ages. WHAT IS THE COMMITMENT? Because of the ongoing and substantial time and study required of Farnsworth docents, this volunteer role tends to be a long-term commitment. Many of our docents have been working with the museum for a long time, some for more than 25 years, with the average length of service being 10 years. HOW DO I APPLY? Prior art experience is not required to become a docent. Having an eagerness to share your love of art is a must. Training and mentoring is provided through a series of active, enjoyable, and engaging sessions. If you are interested in becoming a Farnsworth docent, please contact Denise Mitchell, Coordinator of School and Docent Programs at 207-390-6006 or dmitchell@farnsworthmuseum.org.

Robert Indiana, LOVE, 1996, Museum Purchase, 1999, copyright Morgan Art Foundation, Ltd./Artists Rights Society (ARS), New York, NY

The Farnsworth preserves the past… For almost seven decades, the Farnsworth Art Museum has steadfastly served the Rockland community, Maine and the nation by stewarding the museum’s unique collection of American art and historic sites – and with its exceptional exhibitions and programming excellence. Through a planned gift you can help ensure the vitality and permanence of the Farnsworth and all its programs for many years to come.

The Lucy Farnsworth Circle honors friends of the Farnsworth Art Museum who make a gift to the museum through a bequest, charitable gift annuity, trust or other estate plan provisions. Make your planned gift to the Farnsworth today and become a member of the Lucy Farnsworth Circle.

You can preserve its future! HERE’S HOW: Make a bequest to the museum in your will or through a revocable trust Participate in a life income arrangement for the benefit of the museum, such as the museum’s charitable gift annuity program or a charitable remainder trust Create a charitable lead trust for the benefit of the museum

Gifts in any of these forms entitle you to membership in the Lucy Farnsworth Circle, honoring those who name the museum in their estate plans. Make your planned gift to the Farnsworth today. You will become a member of the Lucy Farnsworth Circle and help secure the museum’s future.

Name the museum as a beneficiary of a retirement fund or a life insurance policy Make a gift of real estate or tangible personal property

More information about the Lucy Farnsworth Circle and its associated benefits can we found on our website at www.farnsworthmuseum.org/support or you can contact the Gift Planning Officer at 207.390.6014.

Donor Recognition As the list below illustrates, many individuals, businesses and foundations contribute to the Farnsworth Art Museum, helping us further our mission to “Celebrate Maine’s Role in American Art”. The Farnsworth gratefully acknowledges those donors who made gifts or pledges totaling $1,000 or more during the fiscal year 2017 as of 8/31/2017. We gratefully would like to acknowledge Ms. Kathryn B. Wilson for her commitment of $100,000.00 to create the Stephen May and Kathryn B. Wilson Endowment for the William A. Farnsworth Library ANNUAL CONTRIBUTIONS (As of 8/31/2017) $100,000 - $249,999 Anonymous $50,000 - $99,999 Mrs. F. Eugene Dixon Edwin F. Gamble Charitable Lead Trust The Overbrook Foundation Mr. Ronald A. Stern and Ms. Elisse B. Walter Arthur K. Watson Charitable Trust $25,000 - $49,999 Anonymous Kathy and Paul Anderson Mr. and Mrs. John D. Bertuzzi Camden National Bank Ann and Dick Costello Mr. Jeremy B. Fletcher and

Dr. Charlotte W. Fletcher Mr. and Mrs. Alan Goldstein The National Endowment for the Arts The Seth Sprague Educational and Charitable Foundation Steven and Tabitha King Foundation $10,000 - $24,999 Anonymous (3) Mrs. Linda Bean Mr. and Mrs. Christopher Beebe Charles Butt Cascade Foundation Chichester duPont Foundation, Inc. Ms. Mazie Livingston Cox and Mr. Brinkley Thorne Mr. and Mrs. William Cox Mrs. Susan G. Crane The Davis Family Foundation Ms. Sylvia A. de Leon and Mr. Lynn R. Coleman Ms. Susan M. Deutsch and Mr. F. Carlisle Towery The William H. Donner Foundation Richard Gilder and Lois Chiles Mr. and Mrs. Jay I. Kislak Mrs. Elizabeth S. Kunkle Dr. Michelle L. Lasser and Mr. Lawrence J. Lasser Libra Foundation Morton-Kelly Charitable Trust Mr. and Mrs. Kevin Naughton Northern Trust, NA Mr. and Mrs. Joseph Pyne Mr. and Mrs. Peter Rothschild Mr. and Mrs. Nicholas Ruffin Mr. Kenneth N. Shure and Ms. Liv M. Rockefeller Ellen C. L. Simmons and Family

Prof. Wickham Skinner J.P. and Kaki Smith Mr. and Mrs. Norman M. Thomas Dan and Sheryl Tishman Laura and Ed Waller The Walton Family Foundation The Wyeth Foundation $5,000 - $9,999 Anonymous 250 Main Mr. and Mrs. Philip D. Allen Kenneth and Roberta Axelson Family Fund III* Bank of America Stephanie L. Brown Dowling Walsh Gallery The First National Bank Fisher Charitable Foundation John H. Surovek Gallery Maine Arts Commission Mr. and Mrs. Edward B. Miller Ms. Joanne Platt Mr. and Mrs. Thomas Renyi Mr. Michael J. Roach Mrs. Elizabeth S. Saltonstall Sibley-Saltonstall Charitable Foundation Mr. Katsushige Susaki Mrs. Letitia H. Taylor Thomaston Place Auction Galleries, Inc. Ms. Louise Turan and Mr. William George Mr. and Mrs. George Twigg III Ms. Kathryn Wilson $2,500 - $4,999 Anonymous Mr. and Mrs. Warren J. Adelson Joan Alfond Revocable Trust Allen Insurance and Financial Mr. and Mrs. Charlton H. Ames

Mr. and Mrs. Richard Aroneau Mr. and Mrs. John A. Bird John and Pamela Blackford Julia and Charles Bolton Mr. and Mrs. Richard A. Bresnahan CedarWorks Ms. F. Randall Chanler and Mr. Andrew Stancioff Joe B. Foster Family Foundation fourTWELVE Mrs. Alice Bingham Gorman Hampton Inn & Suites Rockland/Thomaston Mrs. Barbara G. Jackson Anne and James Jenkins Mr. and Mrs. Frederic R. Kellogg Klein Sandler Family Fund Lie-Nielsen Toolworks, Inc. Machias Savings Bank Emily and William Muir Community Fund II of the Maine Community Foundation Ms. Anna B. McCoy and Mr. C. Patrick Mundy Ms. Maude Robin McCoy and Mr. James Balano III Mr. and Mrs. David Noble Cornelia Cogswell Rossi Foundation Inc. Tracy and Evan Segal Shirley and T. Douglas Stenberg Mrs. Anne L. Vartabedian Mr. and Mrs. Kenneth N. Wexler $1,000 - $2,499 Anonymous A. R. and Marylouise Tandy Foundation Trust Mrs. Mary M. Abel-Smith Mr. and Mrs. Mark G. Avery Kenneth and Roberta Axelson Family Fund IV*

Bessemer Trust Mr. and Mrs. Patrick D. Bienvenue Mr. and Mrs. Harris J. Bixler Paul and Else Blum Private Foundation Mr. Henry H. Booth Mrs. Karen Brace Ruth L. Brown Ruth L. Brown and Carlie Mr. and Mrs. Barrett W. Brown Mr. and Mrs. William A. Buckley Mr. and Mrs. Louis Cabot Mr. and Mrs. Robert J. Campbell Ms. Amy S. Campbell Mrs. Paula Carreiro and Mr. Peter Branch Mrs. Kathleen M. Clark Coastal Healthcare Alliance Mr. Arthur Adelberg and Ms. Linda H. Crawford Hilary and Albert Creighton Mr. Brian Dupnick Mr. Daniel Emery Mr. and Mrs. Harold L. Ertman Edward G. Ewing Dr. and Mrs. R. Kent Farris Mr. and Mrs. Robert Fillnow FIORE Artisan Olive Oils & Vinegars Mr. and Mrs. David Fitch The Free Press Dr. and Mrs. Phillip George The Grasshopper Shop of Rockland Mr. and Mrs. John Hansen JoAnne and Gary Haynes, Haynes Galleries Mr. Joseph R. Higdon and

Ms. Ellen L. Sudow* Mr. and Mrs. James R. Houghton Ms. Carolyne Hyde Mr. and Mrs. Richard E. Kaeyer Mr. and Mrs. John Wilson Kelsey Ronald and Elaine Kennedy Mr. and Mrs. Edward F. Kenney Ms. Cynthia Hyde and Mr. James J. Kinnealey Mr. and Mrs. James T. Kinsella Mr. Leonard Kizner and Mr. Jeffrey W. Tucker Ms. Lisa Kranc Mrs. Cathy Landau-Painter and Mr. Charles Mamane Mr. and Mrs. Mark D. Lerner Mr. and Mrs. William Lilley, III Mrs. Wendy W. Makins William J. Martin Mr. Jack McKenney and Mr. Paul Cavalli Hon. Olympia J. Snow and Hon. John R. McKernan, Jr. Mr. and Mrs. Edmund R. Megna, Jr. Mr. and Mrs. William C. Millar Miss Zareen Taj Mirza Mr. Frederick Moon Ms. Bridget Moore Ms. Toshiko Mori and Mr. James Carpenter Mr. and Mrs. Wayne P. Morong Ms. Molly Mulhern and Mr. James G. Bennett III Mr. and Mrs. James C.

Murray II Linda and Patrick Nicholas Mr. and Mrs. William Palgutt Ms. Susan C. Petersmeyer Pierce Atwood, LLP Mr. Charles W. Pingree Samuel Plimpton and Isabel Shattuck Marilyn Moss Rockefeller Rockland Plaza Realty Corporation John and Carolyn Rosenblum Ms. Lucy R. Ross Mr. Bruce Russell and Mr. Andrew Oakley Ms. Mary R. Saltonstall and Mr. John K. Hanson, Jr. Mr. and Mrs. Edward L. Samek Ms. Ellen Seidman and Mr. Walter Slocombe Sellers Publishing, Inc. Mr. and Mrs. Lawrence A. Silverstein Ms. Cary W. Slocum Somerville Manning Gallery Mrs. Helen Stern Mr. and Mrs. Terry A. Strine Ms. Alix T. Thorne Barbara and Sedgwick Ward Ms. Lucinda B. Watson Mrs. Kathy Weber Sabina A Wood Art & Antiques Mr. and Mrs. Allen W. Zern * Gifts from Maine Community Foundation

Every effort is made to ensure that the information included is accurate. If any inadvertent errors or omissions have occurred, kindly notify Ann Holton, Individual Giving Manager, so that we may correct our records.

New Members Mr. Geoffrey Abbott and Ms. Alexandra Jiga Mr. Francis Adams Mr. and Mrs. Tom Adkisson Mr. and Mrs. William Anderson Ms. Allison Armstrong Ms. Jennifer Babiec Ms. Krisanne Baker Ms. Frances E. Baliotti and Mr. Robert B. Schnure Mr. and Mrs. Howard R. Barnhart Dr. and Mrs. Tony Bates Ms. B.B. Bayerle Ms. Joanne Beaudoin Ms. Leslie Belz Mr. and Mrs. Scott Benezra Ms. Michele A. Benoit Ms. Joyce Berg Ms. Laura Berkshire and Mr. John Hoff Better Homes and Gardens The Masiello Group Mr. Skip Birbarie Mr. and Mrs. William Bisbee Mrs. Loretta Bischoff Ms. Ann W. Bodkhe Mr. and Mrs. Charles P. Bolton Drs. Kate and Jim Borsig Mr. Patrick Brady and Ms. Joana Kubiak Mr. and Mrs. Robert M. Briggs Ms. Brianne E. Brophy and Mr. Christopher Stump Ms. Mary A. Brown Ms. Patti Brown Mr. and Mrs. James Buckley Ms. Jamey Burris-Fish Ms. Cornelia Calder and Mr. Nathaniel Krenkel Camden Riverhouse Hotel Mr. David Camenga and Ms. Nora Arnold-Camenga Mr. and Mrs. Bart Carhart

Mr. and Mrs. Thomas Carmichael Ms. Katharine Cartwright and Mr. Dan Verillo Ms. Sally Caswell Ms. Cheryl Cayer Mr. Ian Cheney and Ms. Amanda Murray Mr. Nicholas Citriglia and Ms. Kendra Emery Mr. Darrow Clebovici and Ms. Meg Twohey Mr. Nathaniel Clifford Mr. and Mrs. Barry Cluff Ms. Cynthia A. Condon Ms. Sandra Cook Dr. and Mrs. John R. Cooney Ms. Cynthia Coppinger Mr. Mark Coughlin Mr. and Mrs. Herbert P. Crowell Ms. Laura Curley and Mr. Raymond Gravelin Nanci-Ames Curtis, M.D. Ms. Beverly Day Ms. Annie E. de Cossy and Mr. Mark Forsyth Mr. and Mrs. Paul Dennett Ms. Jeanne Deuso Mr. Chip Dewing Ms. Kim Dolce and Mr. James Kochan Mr. and Mrs. John Doub Mr. and Mrs. Gary Dunton Mr. Donald Durkee and Ms. Annemarie Quigley Ms. Margaret Duston and Mr. Stanley Eller Ms. Liana Eastman Mr. and Mrs. David Edfors Mr. Stephen Beupre and Ms. Dorothea Eiben Mr. and Mrs. Frank Ellis Mr. Gregory G. Ellis Ms. Jean Joransen Ellis

Ms. Anne Engelhardt Ms. Patricia Faley and Mr. John Campbell Ms. Eleanor Farnsworth Mr. Yves Feder and Ms. Linda S. Skernick Ms. Karen Federle Ms. Margaret Fields Mr. and Mrs. Robert Finelli Ms. Dana Fittante and Mr. Shawn Stockman Kathryn and James Flannery Ms. Deborah Follansbee Mr. Richard C. Frantz and Ms. Jennifer Fox Mrs. Cynthia Freese Mr. and Mrs. George Frelinghuysen Ms. Laurel Getz Ms. Melissa Gibboni Elaine Gibbons Ms. Kelsey Gibbs Mr. and Mrs. Philip Gilbert Mr. Ray Gilhooly and Ms. Grace Bogard Mr. Bruce Graybeard Mr. and Mrs. Joseph B. Green Mr. and Mrs. Willie Grover Mr. and Mrs. Bill Gruener Mr. and Mrs. Michael Guare Ms. Susan Guerrero Ms. Annie Guppy and Mr. David Zachow Mr. and Mrs. Paul K. Hafford Mr. and Mrs. Thomas Hamilton Ms. Pettina Harden Mr. and Mrs. Fred Harris Mr. and Mrs. Brennan Harvey Ms. Truth Hefferton Ms. Laura Heffron and Mr. Patrick Kastein Ms. Sarah Hewitt

Mr. and Mrs. Edward Hilpert Mr. and Mrs. David M. Hilyard Mr. Skip Hoblin and Ms. Mimi Benedict Ms. Carissa Holmstrom Ms. Barbara Huey Ms. Irene Hutchinson Miss Vera Iserbyt Mr. and Mrs. Michael G. Jackson Ms. Paulette E. Johnson Mr. and Mrs. Rendle A. Jones Mr. Jessie D. Jones Mr. Eric Jorgensen Ms. Elizabeth Kaminski Ms. Patricia Kane Ms. Kimberly Kearns Mr. and Mrs. Jonathan Keefe Ms. Sue E. Kelso Ms. Diana S. Kerr Mr. Stephen King and Ms. Margaret Gage Mr. Jay Kipp and Mr. Chris Kipp Mr. and Mrs. John E. Knapp Ms. Melanie Knight Mr. and Mrs. Robert Kohl Ms. Heidi Kunz Ms. Jean Langer Ms. Claudette Lawton Ms. Wanda M. Leavitt Mr. and Mrs. John Leo Ms. Holly Limoges Mr. and Mrs. Stephen Lindquist Mr. and Mrs. Jonathan Linn Rebecca L. Linney Ms. Deborah Locke Mr. and Mrs. William R. Loper Mr. John Lubold Mr. and Mrs. Stephen J. Ludwig Ms. Mary Lunney and Ms. Reba Lunney Ms. Mary Ellen Mackin Mr. and Mrs. John Malin Mr. Adam Maltese and

Ms. Kimberly Sampson Dr. Mary Marcel and Mr. Thomas Williams Mr. Eric Marshall and Ms. Deb Claflin Mr. Francesco Marshall and Mr. Ron Sepielli Ms. Isabella Mastroianni Ms. Shirley A. McAfee Mr. James McCain, Jr. Ms. Laura McCandlish Mr. and Mrs. Kenneth W. McCollister Ms. Christine McDuffie Ms. Jane McLean and Mr. John Elberfield Ms. Margaret McSweeney Mr. and Mrs. David Mee Dr. and Mrs. Mark Meehan Mrs. Valerie Mekras Meredith Mendelson and Sherry Mendelson Mr. and Mrs. Ed Merrens Mr. and Mrs. Mark Methlie Ms. Elizabeth C. Meyers Dr. Susan Michlovitz and Mr. Paul Velleman Ms. Jeannette Micoleau Mr. Jack Miller Mr. Jim Miller and Ms. Molly Noyes Ms. Barbara Mogel Mr. and Mrs. John Morris Mr. Donald Munro and Ms. Elena Baylis Ms. Deborah Myers and Ms. Diane Ranes Mr. and Mrs. Stephen Nelson Ms. Jennifer Neuwalder Ms. Betsy Nichols Ms. Patricia O’Brien Mr. and Mrs. Paul O’Hara Ms. Judy Oleksyk

Ms. Irene Olivieri Ms. Diane Olsson Mr. Patrick O’Reilly Ms. Donna R. Overcash Ms. Allison Owens Mr. Charles Pacheco and Mr. Roland Quirion Mr. and Mrs. Chris Page Ms. Frances Pan Ms. Ellen Parmalee Mr. Eric D. Patterson Ms. Susan Patz Ms. Susan Paulsen Ms. Cynthia Pearce The Honorable and Mrs. Alan Pease Mrs. Reginald Pelletier Mr. and Mrs. Darryn Peterson Ms. Phyllis Phillips Ms. Joanne Platt and Ms. Delia Snyder Ms. Lorraine Polak Ms. Faith Porter Ms. Bonnie Preston Ms. Carolyn Prue Mr. Steven Rea Ms. Susan Reider and Mr. Rob Wasserstrom Ms. Cheryl Reif Mr. and Mrs. Mark Renzi Ms. Shelley Reynolds Rhumbline Slipway Mr. Stuart L. Rich and Mr. Peter H. Murray Mr. Dan Richard Mr. and Mrs. H. Burtt Richardson Ms. Dorcas Riley Ms. Joanne Roark and Mr. Patrick Otto Ms. Carol Rowan Mr. Michael Salmon and Ms. Mary Jo Brink

Mr. Andrew Sarapas Mr. Jim Schwob Mr. William Scoble Ms. Naomi Seastead Mr. and Mrs. Patrick Sebrey Mr. Neil Shankman and Ms. Kathleen Kelly Ms. Jessica Shepard Mr. Robert J. Shusterman and Ms. Eva Loeb Mr. and Mrs. Allen Sicard Mr. and Mrs. Eric Silverman Ms. Anneli Skaar Mr. and Mrs. Robert Slater Ms. Sandra Smalley Linda Smiley Mr. Carlton Smith Ms. Catherine Smith Ms. Catherine Snook Mr. and Mrs. Michael Spath Justin Stailey and Kerry P. Stailey Ms. Alison Stark Mr. Richard L. Stern Ms. Bonnie Z. Stone Ms. Heidi L. Strassberg-Bersani Ms. Susan B. Strauss and Mr. Edward D. David Strong Young Men Estate Services Mr. and Mrs. Martin Stuart Mr.and Mrs. Robert Stuart Ms. Ruth Sudduth Mr. Richard Swain and Ms. Nancy Mattila Ms. Rita Swidrowski Ms. Pam Swing and Mr. Marty Plotkin Kenneth Talmage and Jin Hong Kim Ms. Jessica Tardy Lynn Taylor Mr. William Teitsworth and Ms. Renee Emanuel Ms. Shanna R. Thompson and

Mr. Marshall Marice Mr. Seth Thompson and Ms. Karen Egly-Thompson Mr. William D. Thompson and Ms. Cynthia Wolcott Ms. Lynn Tierney Mr. James Tolles Ms. Jocelyn Tracy Mr. David Tucker Mr. and Mrs. Gregory S. Verklan Ms. Catherine Ward Mr. and Mrs. Timothy R. Warner Ms. Carol Watier Mr. and Mrs. Michael Watkins Mr. and Mrs. John Webre Ms. Lisa Webre Ms. Debbie Welch-Ambro Penelope West Mr. and Mrs. Kenneth H. Wilcox, Sr. Mr. Perry Wilder Mr. and Mrs. Guy Williams Ms. Judi Willis Ms. Rise’ L Wilson and Mr. Adam Wilson Timothy P. Wilson Mr. and Mrs. Joe H. Woody Mr. Steve Wyman Mr.and Mrs. Russ Zajtchuk Mr. and Mrs. Keith Zoba

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