Garden Day in Lynchburg April 26 2022

GUIDE TO OF

interpreted by floral designers Hillside and

Frederick Judd Waugh, Kelp Covered Rocks, 1932, oil on canvas, 22 x 26 in. Purchased by Randolph Macon Woman's College and the Art Association, 1924.

Frederick Waugh (1864 1940), born in Bordentown, New Jersey, was the son of artists. He studied at the Pennsylvania Academy of the Fine Arts under realist painters Thomas Eakins and Thomas Anshutz. In 1892, he married fellow art student Clara Eugenie Bunn, and in that same year, they began a fifteen year sojourn in Europe. The couple first lived on the island of Sark, in the English Channel, and then in Cornwall In Sark, Waugh began his career as a seascape painter.

Upon their return to the United States, the couple first settled in New York City and Montclair, New Jersey. Waugh had no studio until art collector William T.

Patricia Passlof, Dusk, 1997, oil on linen, 94 x 52 1/8 in. Gift of the American Academy of Arts and Letters, New York; Hassam, Speicher, Betts, and Symons Funds, 2003.

Patricia Passlof (1928 2011) was an American abstract expressionist painter who worked to create a female presence in the male dominated art world of the 1950s 1970s. She was born in Brunswick, Georgia and grew up in New York City where she attended college and ultimately studied with abstract expressionist Willem de Kooning. In 1973 Passlof was included in the landmark Women Choose Women exhibition, the first major NYC show organized by women and devoted exclusively to the work of 109 women artists. Passlof was married to Milton Resnick, also an abstract expressionist painter, whose career often overshadowed Passlof's. The two lived and worked in a converted synagogue on the Lower Eastside of NYC.

Dusk illustrates all the characteristsics of abstract expressionism: spontaneity, energetic mark making, all over surface texture, ambiguous subject matter, and emotional expression. The title gives us a hint to the subject of this work. Dusk is the darkest part of twilight, the period where the sun is below the horizon. Perhaps Passlof shows the last flickering lights of day peeking through the heavy settling darkness. Art is the place where thought begins thinking, abstracting and conceptualizing do not begin with word formation but with the eye seeing. (Pat Passlof, 1978, “Artview,” NYT)

Margrit Lewczuk, Chrysalis III, 2012, acrylic on linen, 60 x 48 in Gift of the American Academy of Arts and Letters, New York; Hassam, Speicher, Betts and Symons Funds, 2013

Margrit Lewczuk (b. 1952), whose first solo museum exhibition museum was at the Maier Museum of Art at Randolph College in 2004, is an American abstract artist who lives and works in Brooklyn. She was born in New York City and studied at Queens College and the Brooklyn Museum Art School. Her early paintings centered on overlapping abstract shapes that bring the viewer across the entire canvas rather than suggesting one focal point. She painted with oils using a muted palette of earth tones on small canvases. In 1999, a studio fire destroyed 25 years of her work and her entire art collection. After the fire, her work changed. That tragedy and travels to non European cultures inspired a new body of wor thick application vibrant acrylics. canvases, Lewczu symmetrical patt Mayan art

Chrysalis III is p categorized as “ a caterpillar takes fully formed mot rendered shapes part figure, par quick marks that emerges through and vibrancy. Or, is it an angelic form?

Born in Nyack, NY, Edward Hopper (1882 1967) was an American realist painter. He attended the New York School of Art where he studied under American Impressionist William Merritt Chase and American realist Robert Henri. They encouraged their students to paint the everyday realities of the world around them. Hopper made three trips to Paris between 1906 and 1910 where he was influenced by the work of Edgar Degas and Édouard Manet. In 1923, he married Josephine (Jo) Nivison, a fellow art student. Nivison was influential to his career and life: she was his only female model, managed his studio and interviews, and arranged the props and settings of his studio sessions. She complemented Hopper's quiet, introspective demeanor with a gragarious, sociable personality. The couple split their time between an apartment in Greenwich Village and a summer home in Cape Cod.

Mrs. Scott’s House depicts a neighbor's house in South Truro, Cape Cod. Rays from the mid afternoon sunlight cover the rolling hills, at the same time casting the house into shadow. This image embodies the characteristics of Hopper’s style: clearly outlined forms in strongly defined lighting, a cropped composition with an almost “cinematic” viewpoint, a nostalgic quality, and a mood of eerie stillness.

Edward Hopper, Mrs. Scott's House, 1932, oil on canvas, 34 1/4 x 50 1/8 in First purchase made possible by the Louise Jordan Smith Fund, 1936.

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The Maier Museum of Art at Randolph College houses an outstanding collection of American art, chiefly paintings, works on paper, and photographs from the 19th, 20th, and 21st centuries. Located on the Randolph campus and open to visitors year round, the Museum serves both the academic community and the general public and offers changing exhibitions, rotating displays of the College’s permanent collection, and educational programs.