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MarsdenHartley: AMaineOriginal Atauction.MarsdenIlarllcy’spaintingsarcgoin throughtheroof. By Stephen May.
NottheUsualSuspects. ArtistBeulahCordonconicsIoPortlandviaSouth Africa.IlafidLdaoulifromMorrocco. BySteveLuttrell.
ThomasofMainePainting. today,there’salmostacultfollowingamong collectors for Kennebunkport s beloved "Uncle IxHiis."AndnowthathisTurbat’sCreekstudio hasbeendisassembled,revealingnewartworks, memoriesarcspringingafresh. ByKateTuller
31
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Did you know that a Portland bov who grew up on the corner of Cumberland and Brown Streets launched IheSaturdayKreningPost.TheItidies IIonicjournal, andthecareersofnowlists KennethRobertsandb.Scottbitzgcrald? By Herbert Adams.
CyrusCurtis: 47
LargeItemPickUp. New Fiction By Daniel Domench
Cover: Detailfrom “Jotham'sIsland(now Fox),OffIndianPoint,Georgetown,Maine. MouthofKennebecRiver,SeguinLightat Left,"1937,oilonboard,2213/16”x28 13/16". COURTESY ADDISON GALLERY OF AMERICAN ART, Phillips Academy, Andover,MA.Right:Thecompleteimage.
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NewsstandCoverDate:September1998,publishedAugust 1998,Vol.13,No.6,copyright1998.PortlandMagazineis mailedatthird-classmailratesinPortland,ME04101(ISSN: 1073-1857).Opinionsexpressedinarticlesarctlioscofauthors aixldonotrepresenteditorialpositionsofPortlandMagazine. Letterstotheeditorarcwelcomeandwillbetreatedas unconditionallyassignedforpublicationandcopyright purposesandassubjecttoPortlandMagazine’sunrestricted rightIoeditandcommenteditorially.Responsibleonlyforthat portionofanyadvertisementwhichisprintedincorrectly. Advertisersareresponsibleforcopyrightsofmaterialsthey submit.Nothinginthisissuemaybereprintedinwlioleorin partwithoutwrittenpermissionfromthepublishers.Sub¬ missionswelcome,butwetakenoresponsibilityforunsolicited materials.
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ITSSEPTEMBER,andwe’redriv¬ ingalongRouteOnewhenwepull overtothesideoftheroadforsome livelobstersatafishmarket.The screendoorbangsbehindus,and wehappilyapproachthetankandlookat thepilesoflobstersintheirnaturalcol¬ ors-darkgreens,browns,flecksofdullred.
Thenthepileshiftsanditpopsuplike asapphire:aglowingbluelobsterso spectacularthatmywifeandIsayitat thesametime-“Irises!”-wistfullyre¬ memberingthewaytherenegadewhite irisatthefarrightofvanCogh’s“Les Iris”breaksthepatternbegunbyitsviolet comrades.Eventhislobster’santennae arebrightblue,andlikethewhiteiris,it is‘thedifferentone,’theblacksheep,the fishoutofwater,theanomaly.
Iguessthat’swhat“LesIris”was,too, ananomalyatWestbrookCollege’sfor¬
merJoanWhitneyPaysonCallery,now the“ArtGalleryoftheWestbrookCam¬ pusoftheUniversityofNewEngland”somethingtoogoodtobetrue.
Todaythepaintinghasbecomepartof oursubconscious.It’sontheWestCoast attheGettyMuseum,farawayand estrangedfromus.
ButintheJoanWhitneyPaysonmuse¬ um,thejewelofWestbrookCollege,it wasours,glowinglikeacagedtigerits colorsweresobright.
Sowehaveonlythismemory,thisblue lobster.PurplecougarsinFloridahave sportsteamsnamedafterthemand they’renotevenreallypurple,they’re actuallyliver-colored;butthislobsteris LouisXIVblue,evenitslegs.
“You’renotgoingtosellthis,areyou?” weasktheproprietor.
“Look,he’llturnredifyouboilhim, justliketheotherones,”hesaysandslaps hishandonthecounter.“Doyouwant him?”
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I’veseenharlequinlobsters,too-I guessthey’dhaveremindedmeabout thePicassosthatwerepartoftheperma¬ nentcollectionattheJoanWhitney PaysonGallery'.They’regonetoo,aren’t they?Betternottotalkaboutthat.
We’renotgoingbacktothestoretosee ifthebluelobsterisstillthere.Ifhe’s gone,don’ttellus.I’dratherthinkofhim onthissideofbeingandnothingness.
MenInScoringPosition IwasdelightedrecentlytocomeacrossacopyofPortlandMagazine.I hadn’tseenthemagazineinalong time,andit’sgreattoknowthatit’sstill doingwellafteralltheseyears.Ire¬ memberwellwhenyonbegan,andit’s hearteningtoseehowfaryou’vecome. Congratulationsonyoursuccess-your longevityandgrowtharetrulyimpres¬ sive.
It’sbeenalongtimesinceweate ChinesefoodtogetherinFalmouth, hasn’tit?Inrecentyears1havere¬ turnedtomyjournalisticrootsaswell. Thebi-monthlynationalmagazine1 publishandedit,MovieMaker,enters itssixthyearnextmonth.Welaunched itinSeattleandlastyearmoveditto L.A.,whereithasreallyblossomed. Myulteriormotiveinthisenterprise hasbeenadesiretobecomeadirector myself.Ijustrealizedthatdreamby completingmyfirstfull-lengthfeature, MeninScoringPosition.(Themovie starsAlanCelfant,whocanbeseenon thebigscreeninlateAugustinthe newMiramaxmovie,NextStopWon¬ derland.)WewilldebutMISPthisfall atseveralfilmfestivalsandother screenings,and,Godwilling,itwillbe availableonvideothroughadomestic distributorthereafter.
Asidefromallmypersonalconnec¬ tionstoMaine,MISPhasseveralartis¬ tictiestohome.Thisspringwhilein Mainecheckingonmycamp,Ivisited mycollegebuddy,PaulTukey,andwe startedtalkingaboutthemovie’s soundtrack.Tomakealongstory short,myfinalsoundtracknowboasts thesongsoffour‘undiscovered’Maine artists.OnceweburnaCD,I’mhop¬ ingitcouldworkintoabigbreakfor theseguys.Anyway,ifyou’dliketo hear,orsee,more,1’11bevacationing inMaineinlateJulyandearlyAugust.
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Thearticlesare:1)“Pat’sPizza,” Summerguide1998;and2)“JanwillemvandeWetering,”April1994. HopeIhaveyourpennission.Iprom¬ isetohaveanewstoryforyousoon...
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Surf at Whitehead. Don Stone N.A., Oil on canvas 18" x 24"
ClamDigger. Sergio Roffo, Oil on linen 18" x 28" Low Tide at Pemaquid. DavidKnowlton,Acryliconpanel24"x18"
Armbrust IHll. Early Spring. Scott Moore, Oil on canvas 28" x 44"
Hartlevsstirring"Mountain \o. N. /9^0.oiloncanvas,401/2x331/2"hasbeenlentanonymouslytothePortlandMuseumofArt.
MarsdenHartley A Maine Original An American Master •/ AMaineOriginal,AnAmericanMaster Story By Stephen May
LewistonnativeMarsdenHartley, surelythegreatestpainterever borninMaine,isinereasinglvrec¬ ognizedasthefinestandmost enduringoftheearlyAmerican modernists.Duringaperipateticlifethat tookhimfromthePineTreeStatetothe farcornersofAmericaandtoMexicoand Europe.heproducedandaudacious,var¬ iedhods-ofworkthatwillstandthetestof time.
MostobserversagreethatIlartlcssmost importantmasterpieceswerecreated betweenhisreturntoMaineinthelate
1930sandInsdeathinEllsworthin1943. Theseculminatingworks,withtheirdra-
MarsdenHartleyinBerlin,1922.Photocourtesy of
maticcontrasts,visidcolors,andboldly outlinedshapes,expressprofoundemo¬ tionstriggeredbvtherocks'coast,violent ocean,andmajesticmountainsofhis nativestate.IIewanted,Ilartleywrotein 1937,tobeknownas“thepainterfrom Maine,"
Paintedwithanewsenseofvisualforth|rightness,power,andurgency,thecanvas¬ esofthisfinalsearsweretimelessand unforgettable.Ascelebratedartcritic IRobertHughesobsersedinhisrecent book,AmericanVisions:IheEpicIliston' ofArtinAmerica,Hartlesbecamethe
the Bates College Museum of Art.
M.D.RYUS,recentwork■July BAIT&SWITCH(AlluringFishTales)■August P/REVIEW:GalleryArtists■September
“greatestofearlyAmericanmodernists.” Today,Hartley’sartcommandstop pricesatmajorauctionhouses,andhis masterworksareprizedpossessionsofthe nation’smostprestigiousmuseums.For¬ tunately,anumberofimportantHartley workscanbeseenaroundMaine,notably attheFarnsworthArtMuseuminRock¬ land,theOgunquitMuseumofAmerican Art,andthePortlandMuseumofArt.The artmuseumsatBates,Bowdoin,andCol¬ byCollegeshousesignificantHartleycan¬ vases,withBatesboastinginadditiona largetroveofHartleydrawings,pho¬ tographs,documents,andmemorabilia.
Atravelingretrospective,“MarsdenHart¬ ley:AmericanModem,”organizedbythe WeismanArtMuseumoftheUniversit}' ofMinnesotainMinneapolis,onviewat thePortlandMuseumofArtearlierthis year,offeredfurthervisualevidenceof Hartley’sgiftsandimportance.
Byjustaboutanymeasure,Marsden Hartleywasatroubled,conflicted man.Hewasagayinasocietythat frownedonhomosexuality,an artistdrawntoabstractionwhen suchworkwaslargelyshunnedbythe public,amansusceptibletopowerful swingsofmood,andapaintercapableof ever-changingartisticstyles.
ComingofageatatimewhenEuro¬ peanavant-gardeartcommandedmost attentionandpatronageinhiscountry, Hartleyandhismodernistcompatriots soughttodefineanindependentAmeri¬ canartformstimulatedbysuchwritersas Emerson,Thoreau,andWhitmanand painterAlfredPinkhamRyderandothers.
“Likeatruemodernist,”saysWeisman MuseumcuratorPatriciaMcDonnell, Hartley“ranthroughthefullgamutof optionsthenopentoavant-gardepainters” asherestlesslyexploredstylesandsiteson bothsidesoftheAtlantic.
StudyofHartley’scareeroutputsuggests howdramaticshiftsinHartley’sthinking —ofteninresponsetoculturaltrendsof theday—werereflectedinchangesinhis art.“Hemadehiswholepaintingcareera matterofexperiment,”artcriticAlexander Eliotonceobserved.TotraceHartley’s oeuvreistoundertakeamini-coursein 20th-centuryartmovements.
Althoughhisfonnaleducationwaslim¬ ited,Hartleywasavoraciousreader,from AmericanwriterslikeEmerson,Thoreau, Whitman,andWilliamJamestoFrench philosopherHenriBergsontospiritualist texts.Earlyinhiscareerhehobnobbed
withavant-gardeartistsintheU.S.andon theContinentandwasbefriendedby modernisttitansGertrudeSteinand AlfredStieglitz.“Thesesourcesandmore fedHartley’scommitmenttothelifeof thesouloverthelifeofthemind,” McDonnellhaswritten.Hartleywasalso atalentedwriterofpoetry,essays,andcrit-
Hartley Hearsay ChristopherHuntingtonofShermanStation,Maine investedinaHartleyfor$1,400in1965.Arabbihad broughtitintotheartdealerinNewYorkCity.Howit cameintotherabbi’shands,nooneknew,butthe paintinghadbeenpaintedin1919andprobablyhad wanderedthroughmanypeople’slives.Huntington heldontohisinvestment,andthepainting,asmalloil. isnowworth$150,000andisonloantothePortland MuseumofArt.
SothebysAuctionHouseofNewYorkhadasaleof ModernistworklastDecemberinwhichtheysolda Hartley.ThisHartleyhadgoneupforsalein1995but didnotsellthen.Biddingforthe1938 NovaScotia Fisherman startedat$300,000to$500,000.Itsoldfor $675,000plusthebuyer’spremiumof10percentwhich madethetotalpurchaseprice($745,000)aboutas muchastheywereoriginallyaskingin1995.
AnantiquedealerinGouldsboroboughtapaintingof aseagullafewyearsago.Thepersonsheboughtit fromdidn'tknowitsorigins.Whilethedealerhad inklingsthatitwasaHartley,sheresolditforamodest sum.Onlylaterdidshefindoutthatitwasindeeda Hartleythathadpassed,unrecognized,throughher shop.
AnunsignedHartleycameupforauctioninBoston sevenyearsago.Theauctioneersdidnotidentifyitas aHartleyandthebuyer(whowasawareofitsorigins) wasabletopurchaseitataverylowpriceandresellit laterforfarmoremoney.
ApersoncameintoBarridoffGalleriesinPortland recentlywithapaintingthathadbeenintheirfamilyfor years.“Whentheybroughtitin,itwasintheoriginal crate.I'mnotsureithadeverbeenopened."Annette Elowitchsays.“Andasweopeneditweburstinto tears.Weweresooverwhelmedbythebeautyofthis undiscoveredHartley."
-Heather Rebmann
icismthatcontinuetobereadtothisday. Inevitablyforamanofhistimes, Hartley’soutlookandcareerwere shapedbyhishomosexuality.“Asa gaymaninanerawhenpublic admissionofthissideofoneself meantsocialandartisticruin—tosay nothingofcriminalprosecution—he routinelymasqueradedassomethinghe wasnot,”observedMcDonnell.The necessitytoconcealhissexualorientation clearlyinhibitedtheartist’sself-expression, shenoted,andcontributedtotheshifting aestheticapproachesheadopted. Hieyoungestoffivesurvivingchildren andtheonlyson,Hartleywasbornin Lewiston,thenagrittymilltown,ofEng¬ lishimmigrantparents,in1877.Hehada difficultchildhood,atime,herecalled, “vastwithterrorandsuq^rise.”Ilismother diedwhenhewaseight;fouryearslater, hisfather,amillworker,remarriedand movedwithhisnewwifetoOhio,leaving
18-October 31
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hislonelysonwithanoldersisterin Auburn.
“From the moment of my mother’s death,”Hartleylaterrecalled,“Ibecame inpsychologyanorphan,inconscious¬ nessalone,leftthingtomakeitswayout foralltimeafterthatbymyself.”Henever forgotthesoundoftheharsh,grinding cottonmillsofLewiston,which“rangin myearsforyears—andasordidsortof musiccameoutofit.”
Attheageof15hehadtodropoutof schooltoworkinaLewistonshoefactory forthreedollarsaweek.Ayearlater,he joinedhisfather,sisters,andstepmother inCleveland,wherehewasemployedby amarble-quarrycompany,againforthree dollarsperweek.
Lonelyandinsecure,Hartleybegan topursuehisartisticbentthrough weeklyartlessons.An“artvirus [wasplanted]inmysoul,”hewrote later.Aroundtheturnofthecentu¬ ry',hestudiedatwhatisnowtheCleveland InstituteofArt,andthen,withthehelpofa scholarship,hetookcoursesattheNew YorkSchoolofArtandtheNationalAcad¬ emyofDesigninNewYork.Hisfather soughttodiscouragehis22-year-oldson frompursuingacareerinart,butyoung Hartleyobduratelyplowedahead. Duringmuchofthisperiod,andindeed fortherestofhislife,exceptwhenhewas inEurope,HartleyreturnedtoMainefora brieftimeeachyear.Hewentthroughlean times,occupyingaseriesofmakeshiftquar¬ tersrangingfromanabandonedfarmshed toacobbler’sshoptoaformerone-room schoolhouseinplaceslikeCenterand NorthLovellandNorthBridgton.His nomadicexistence—asanadulthenever livedinthesameroomsforlongerthan10 months—fedhissenseofisolationand disconnectionfromsociety.Heoccasional¬ lysoughtourthecompanionshipoffellow artistsandfrequentedartgalleries. Attheageof29,hechangedhisfirst namefromEdmundtoMarsden,hisstep¬ mother’smaidenname.Aboutthistime hebeganseriouspaintingoftheMaine landscape,particularlymountains,in worksinfusedwithasenseofthespiritual innatureandhisinnateidentitywithhis homestate.“Mountains,”hesaid,“are... entitiesofagrandiosecharacter,andthe onewhounderstandsthembestistheone whocansufferthembestandrespecttheir profoundloneliness.”
Muchofthisearly'workwasdarkand foreboding,suchasaviewofSpeckled
MountainnearLovell,inwhichhede¬ pictedthemountainunderglowering skies.Fromtimetotimehispalettebright¬ ened,notablyinautumnscenes,ashe undertookaseriesof10imagesofmoun¬ tainrangesnearNorthLovell.Theobjec¬ tiveofthissuite,whichdepictedall seasons,was“renderingtheGod-spiritin themountains.”
Oneparticularlymutedandsombercan¬ vas,TheDarkMountainNo.1(1909, nowintheMetropolitanMuseumofArt), wasinspiredbythesoberpaletteandele¬ mentalfonnsofhisfriend,painterRyder. Earlyon,itwasownedbyNewYorkart impresarioStieglitz,whowroteonthe back:“Istillconsideritoneofthebestof allHartley’swork...Hartleywasundoubt¬ edlyonthevergeofsuicideduringthe summerwhichbroughtforththispicture.”
In1909,the32-year-oldHartley gainedcriticalattention—though notfinancialsuccess—when StieglitzfeaturedhisearlyMaine canvasesintheartist’sfirstone-per¬ sonexhibition,atthepioneering291 galleryonFifthAvenue.Inthathotbedof internationalavant-gardeart,Hartleywas exposedtothebrightcolorsofFauvism andnewstylesofpainting—andwas launchedintoart-worldprominence.
InspiredbytheexampleofFrenchartist HenriMatisse,thepainterfromMaine begantouseahigher-keyedpaletteand strongerbrushstrokesafter1910.InCar¬ nivalofAutumn(c.1910,Portland MuseumofArt),thecrimsonsandyellows ofaMainefallwerelaidinboldstrokes againsttheswellingformsofbulkyhills framedbyslenderwhitebirches.Inother autumnalimages,theswirlingclouds, broadly-strokedlandscape,andveritable explosionofcolorputoneinmindofVin¬ centvanGoghathisvigorous,Expres¬ sionistbest—•andofMatisseintheir intensehues.
Ontheotherhand,SundownKezar Lake(1910),inthecollectionoftheBates CollegeMuseumofArt,isamoresub¬ duedbuthighlyevocativerenderingofa sitefamiliartotheartist.
In1912,1lartleyrealizedhisambitionto traveltoEurope,wherehestayedforthree andahalfyears,firstinParisandthen Berlin.InParis,hisheightenedinterestin PaulCezanne’sstylewasreflectedin splendidstilllivesfeaturingtiltedtabletops,simpleobjects,decorativepatterns, andamutedpalette.
1hartleywassoondrawnintotheParisian
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orbitofGertrudeStein,whowelcomed himintohersalonofprogressivewriters andartistsandpraisedhiswork.“[A]tlast,” shesaidofHartley,“anoriginalAmeri¬ can.”SteinboughtfourIlartlcypaintings, whichshedisplayedinhersalonalong¬ sideworksofMatisseandPabloPicasso. Hartleycontinuedtosortthroughavari¬ etyofartisticchallengeswhenherelocat¬ edtoBerlinin1913.IntheGerman capitalontheeveofWorldWarI,hecre¬ atedsomeofhismostinnovativework.
The American nomad developed a realpassionforBerlin,whichhe foundtobeathoroughlymodem, clean,andorderlycity.Hede¬ lightedinthemilitarypompand pageantryofimperialGermany,withits frequentparades,drillsofmeninsnappy uniforms,andotherdemonstrationsof masculinestrengthanddiscipline.'ITiere was,hesaid,“asenseofperpetualgaiety... inBerlin...[Tire]feelingthatsomegreat festivalisbeingcelebratedalways.” Berlinwaswellknownatthetimeforits relaxedattitudetowardhomosexuality, andbeforelong,Hartleydevelopedan intimatefriendshipwithayoung,blonde Prussianofficer,KarlvonFreyburg.
Hartley’searlyBerlinpaintings,inastyle hecalled“cosmicCubism,”blending vividcolors,numbers,militaryinsignia, andparademotifs,suggesthisexcitement atthelivelymartialspectacleswirling aroundhim.Boldlypersonal,theyalso combineRussianexpatriateVasili Kandinsky’simprovisationswiththebril¬ liantcolorsofFranzMarcandotherGer¬ manExpressionists.
Hartley’sexuberancedimmedafterwar wasdeclaredinAugust,1914.Withina fewmonthshisdearfriend,Lieutenant vonFreyburg,diedontheWesternfront, andotheracquaintanceswerekilledor woundedincombat.Hisarttookonaless celebratorytone,inaseriesofpaintings thatwerebothmemorialstohisslain companionandtributestothemassesof wardead.
Intheworksof1914-15,Hartleyincor¬ poratedamelangeofGermanmilitary' motifsincolorful,animatedpatternsthat expressedthevigor,energy,spectacle— andanguish—ofmilitarizedBerlin. Complex,challenging,andarresting,the painter’sso-called“Germanofficer” abstractionswerethefirstmasterpiecesof hiscareer.AsartcriticHiltonKramer (whosummersinWaldoboro)haswrit¬ ten,theyplacedhim“inthefrontranksof
L/AArts Hart Rouge T. Canitdfahfrancofolk [’Fri)tW&a^8pnP iAiAsbAiiVWs^^ ’X' at^pm Tn XX/ z
theinternationalavant-garde.”Inrecent years,RobertIndiana,wholivesinVinalhaven,createdaseriesofhomagesto Hartley,whichinvokethesymbolismof thelatter’sBerlinsuite.
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MASTER Inlate1915,HartleyreturnedtoNew York.Anti-Germansentimentwasrun¬ ninghigh,andhisBerlinworksreceiveda chillyresponsewhenexhibitedatStieg¬ litz’sgallery.Hartley’simagery,com¬ plainedleadingcriticHenryMcBride, reflected“allthepompandcircumstance ofwar.”Stieglitz’swife,GeorgiaO’Keeffe, ontheotherhand,thoughttheworkwas “likeabrassbandinasmallcloset.” espondentaboutcriticismof whatheconsideredhisbestwork todate,Hartleyreassessedhissit¬ uation.Concludingthatthewar hadfomenteddistrustofartistic experimentation,hedecidedheneeded toredefinehimselfasanartist.Hispre1916faithinsubjectivityswungtopost1917beliefinobjectivity.
FurtherdepressedbyAmerica’sentry intothewarin1917,Hartleysoughtrelief inasojourninNewMexico,thefirstof severalvisitstotheSouthwestandMexi¬ co.Inthatwide-open,Southwesternter¬ rain,theYankeepainterbecamere¬ acquaintedwiththeAmericanlandscape. “1amtheAmericanrediscoveringAmeri¬ ca,”hewroteina1918essay.“Americaas landscapeisprofoundlystirring,”headded, promotingtheideathatnativeartists shouldhave“firsthandcontactwithit.”
Herecordedthearroyosandsweeping vistasoftheregioninaseriesofsubtlyshaded,lovelypastelsandpaintings,such asNewMexico(PortlandMuseumof Art).“1ambewitchedby..[the]magnifi¬ cenceandausterity”ofthelandscape,he said.“ItistheonlyplaceinAmerica wheretruecolorexists.”Hisworkbegan toreflectwhathedescribedas“asturdier kindofrealism...thatshallapproachthe solidityoflandscapeitself.”
Inthemid-1920s,Hartleyspentan unhappytimeontheRiviera,workingin Vence,asmallhilltoptownnearNice. Whilemanyartistsfoundgreatinspiration inthesceniccountryside,Hartleyconsid¬ eredit“nicetolookat,butnottopaint.” Oneofhismoresuccessfulcanvasesfrom thisperiod,thecolorful,Cezanne-like Puq)IeMountains,Vence(1924),was loanedbythePhoenixArtMuseumfor theimpressive“ImpressionsoftheRiv¬ iera”exhibitiononviewatthePortland MuseumofArtearlierthisyear.
Morning in Maine. XanevandMatllu 9"\II",silvergelatinprint
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Bythe1930s,Hartleyhadsoftenedthe “scientificobjectivity”ofhiswork,intro¬ ducinggreaterpersonalfeelingsandpow¬ erintohisartisticvocabulary.Insomeof hismostcompellingimagestodate,he depicted the massive boulders he observedontheDogtownCommonnear Gloucester,Massachusetts.Theheavy, blockyforms,presentedfrontallyandwith strongoutlines,insombercolors,mark thestartofhismaturestyle.
Aftermorewanderingsonboth sidesoftheAtlantic,Hartleybe¬ gantoworkhiswaybacktoMaine viaextendedstaysinNovaScotia, startinginthefallof1935.Be¬ friendedbytheMasons,afamilyofhardy fishermen,hestayedwiththemonEast PointIsland,acrossaninletfromblue Rocks,nearthefishingvillageofLunen¬ burg.Paintinginasmallshedfilledwith coilsofrope,fishingnets,lobsterbuoys, andothernauticalgear,hecreateda numberofclose-upstilliifesofcrabs,jel¬ lyfish,seashells,starfish,andothermar¬ itimeobjects.
Healsocamefacetofacewiththedan¬ gersandhardshipsconfrontingthesemen oftheseaonadailybasis,andexperi¬ encedthetraumaofabruptdeaths,con¬ tinuinghislife-longpatternoflossand isolation.Hartleywasdevastatedbythe drowningoftwooftheMasonsons,par¬ ticularlyAltyMason,towhomhehad becomecloselyattached.
Severalpaintingsfollowingthetragedy includedtheartist’sromanticizedyet ruggedlyrealistichomagestohislate friend,andotherstronglikenessesthat conveyedtheresolutesimplicityofthe localfisherfolkhehadcometoadmire. Otherpaintingsoffishermenfollowing AltyMason’sdrowning,invokingimages ofChristianmartyrdom,wereexecutedin adirect,almostprimitivemanner.(Nova ScotiaFishermenof1938,acompelling oilpaintedafterhereturnedtoMaineill anddisconsolate,soldatSotheby’slast Decemberfor$745,000.Evenforthat substantialsum,itseemedagoodbuyto Hartleyaficionados.)
In1937Hartleyfinallycamebackfor goodtothestateofhisbirth.Hestayed thatsummerwiththewidow/museof sculptorGastonLachaiseinGeorgetown, wherehewasinspiredbythecraggyshore¬ lineandpicturesquelittleislands.Healso spent10exhilaratingdaysonrockyVinalhaven,whichhedepictedinseveralpow¬ erfulpaintingsfeaturingwavespounding
againsttoweringcliffs.Asenseofnature’s powerispalpableinthesecompelling images.
Bytheendofthesummer,though,he hadcharacteristicallygrownwearyofthe peopleinGeorgetown—“adulllot— mostlyBostonsuburbanites—and1think thenameDedhamchangedtoDead-em wouldcoverthemall,”hewroteafriend. Buthehadcreatedsomeexcellentpaint¬ ingsinwhichthetentativesubjectivityof thepastwasreplacedbyamorepro¬ nounced,assured,andmuscularstyle.“It hasbeensuchajoytocomehometomy nativeheathandfeelsocontenthere... Thesearemybigyears...Lifenotonly beginsbutdoublesat60—andsuchan onrushoffreshenergyfairlysurroundsme.”
Among the outstanding works exe¬ cutedinGeorgetownweretran¬ quildepictionsofRobinhoodCove anddramaticviewsofstorm-tossed SeguinIslandLight.Perhapsmost memorableofallistheboldlybrushed FoxIsland,Georgetown,Maine(c. 1937-38),inthecollectionoftheAddison GalleryofAmericanArtandPhillips AcademyinAndover,Massachusetts. Reducedtofundamentals,thecomposi¬ tionfeatureschurningwater,monumen¬ talrockfonns,andpine-cladislands.Itis Hartleyathisbest.AsHartleyauthority GailR.Scott,wholivesinPresqueIsle, hasobserved,“thesecoastalscenesgyrate withanimisticlife.”
Hartleyalsodidanimportantseriesof paintingsofcrashingwaves,suchasThe Wave(c.1940,WorcesterArtMuseum), fdledwithelementalstrength.Several imagescameoutofavisittoSchoodic, wherehedepictedthe“stormyseasand bigcrashingwaves”hesaw.OfallHom¬ er’sadmirers,arthistorianBruceRobert¬ sonhaswritten,Hartley“bestappreciated tliepowerofthesea.”
Theseboldlybrushed,highlysimplified lateseascapes,fulloftimelessbeauty'and potencyandcombiningtheinfluencesof HomerandRyder,willhelpperpetuate Hartley’sreputation.Asthegreatarthisto¬ rianOliverLarkinobservedyearsago, Hartleybecame“apoet-painterwhose imaginationcouldmatchRyder’sand whosewavesmovedwiththepowerof WinslowHomer’s.”
ThereturnofthenativetothePineTree Statecoincidedwithheightenednational interestinregionalart.Afterdeclaring himself“thepainterfromMaine,”Hartley' setouttodepictaspectsofthestate’s
Notations of Color: Oil Sketching in Maine
Exhibitiondates August28-October30,1998
Hours:Tuesday-Saturday,10am-spin Sunday,1-spm
SupportprovidedbvHeelCharitableTrustandanonymousdonors.
BatesCollegeMuseumofArt
OlinArtsCenter75RussellStreetLewiston,Maine04240-6044 207-786-6158•E-mail:museumg'bates.edu•www.bates.edu/acad/museum
JoelBabb. Honing in on Homer. 1998.oilonwoodpanel,10x15in. Collectionoftheartist.Photo:MelvilleMcLean.Allrightsreserved.
sceneryinidiosyncratic,intenselyemo¬ tionalpaintings.“Ireturnedtomytalltim¬ bersandmygranitecliffs,”hesaidin 1938,“becauseinthemreststhekindof integrityIbelieveinandfromwhich sourceIdrawmyprivatestrengthboth spirituallyandaesthetically.”
DiscussingtheseculminatingMaine masterpieces,McDonnellhaswritten: “Allthesecanvases—hismoodyland¬ scapes,hissturdyandarchaicizedfisher¬ men,andhiselegiacscriesofportraits— conveythisartist’sexpressiveandsubjec¬ tivecore.Theirpotentexpressionismisa largefactorintheadmirationtheseimpor¬ tantlateworksofarthavegarneredover theyears.”
AlthoughraisedanEpiscopalian, 1lartleywasnotmuchofachurch¬ goer,butoneofhismostunforget¬ tableMaineimagesishissimp¬ lified,ruggeddepictionofChurch atHeadTide,Maine(1938),atreasured possessionoftheColbyCollegeMuseum ofArt.Thestalwartwhitestructurestill standsinthehamletwherepoetEdwin ArlingtonRobinsonwasbom.Alsoextant isHartley’sstudio/churchinCorea;his sketchofthatbuildingwasrecentlygiven toColbyCollege.
In1939painterWaldoPierce,aBangor nativewhoendedupinSearsport,drove 1lartleyalongthecoastasfarasCorea,a tinylobesteringcommunitysome40 milesbeyondEllsworth.“Prettyname— andGod!itwasabeauty,”Hartleyreport¬ ed.Itwas,hewroteafriend,“awonderful fishingvillage,arealone,andsolikemy belovedNovaScotia,dearoldboyssitting intheirfishhousedoorways,quantitiesof lobster-potslyingaround,aP.O.anda grocery,andafish-shop.”
InCorea,Hartleyboardedforfoursum¬ merswiththehospitableKatieandForest Young,towhomhebecamequiteat¬ tached.Althoughslowedbyillhealth,he wasquiteproductive,workinginstudios inbothachickencoopandabandoned church.Hisdirect,sparestilllife,Shells bytheSea(c.1941-43),oneofhislast works,waspricedat$850,000earlierthis yearbyBabcockGalleriesinNewYork. MostwintershestayedinBangor.
OneofthehighpointsofHartley’slast yearswasalong-soughttriptoMount Katahdin.InOctober1939hemadethe arduousjourneytoawildernesscabin nearKatahdinLake,whichofferedthe bestviewofthesharpconicalformhe wantedtodepict.Foreightdays,the
ratherinfirmartistsketchedandmadeoil sketchesofthemountainthathasinspired artistsandwriterssincethetimeofHenry DavidThoreau.
40)isattheMetropolitanMuseumofArt. Fromtimetotimehelefthisremote perchinCoreatovisitfriendsorplaces roundthestateheliked.HelovedOld
IlartleyonthebanksoftheAndroscogginHirer,circa 1940.
“IknowIhaveseenGodnow,”Hartley saidofhisexposuretothetoweringland¬ mark.Overthenextseveralyearsheexe¬ cutedascoreofversionsofthemountain, inallseasonsandmoods,inmutedtones andriotouscolors.“Ireallyhadagrand timedoingit,”Hartleyremarkedafterfin¬ ishingoneofthesecanvasses.“Ireallylove topaint.”Themostvividofthesepaintings, MountKatahdin,AutumnNo.2(1939-
OrchardBeach,wherehecould,ashe putit,“enjoysolovelyaspectacleasthat five-milebeachcoveredwithhandsome humanity.”Hemadeanumberofvivid portrayalsofmuscularyoungmenhe observedonthebeach,suchasTheLife¬ guard(c.1940),inwhichthefigureofthe powerfulblondlifeguardissilhouetted againstthreeseatedfiguresandtheocean beyond.Theoil-on-boardworkwasfor
saleearlierthisyearatBabcockGalleries for$750,000.
'IliekindlyYoungsnurturedandnursed Hartleythroughhisfinalyearsofillness and,towardtheend,ncar-incapacity.11is healthdeterioratedrapidlyinthesummer of1943,andhediedthatfallofheartfail¬ ureinthehospitalinEllsworth.Hewas66. Afewyearsbefore,hehadwrittentohis niecethathewantedtobecrematedandthat hehopedhisepitaphwouldread:“Herelived onewhodidthebesthecouldwithwhat therewasandallinalllikedthestmggle."
Marsden Hartley, who became the painterofMaine,didindeedstrugglewith avarietyofdemonsthroughouthislife, butheperseveredandbequeathedtopos¬ terityalargenumberofremarkablepaint¬ ingsthatcaphiretheniggedness,resiliency andbeautyofhisnativestate.Maine, whichforsolongignoredthelonelyartist fromLewiston,todaytakesgreatpridein proclaiminghimatmeAmericanmaster.
StephenMaywritesaboutartandculturefor ARTnews, Smithsonian Magazine, American Heritage, blew York Times, and Washington Post. IIedivideshistunebetweenWashington,DC.,and afannhouseinUnionthathasbeeninhisfamily forover70years.
THE THUNDERHEAD SERIES StoryBySteveLuttrell Hafid Lalaoui
hefirstthing1noticewhenIgreet HafidLalaouiishisear-to-car smile.Hehasanalmostinfectious enthusiasmforhisphotography andeverythingelsehedocs.Heis veryeasytotalktoandveryinterestedin peopleand“whatmakesthemtick.”His curiosityisatoncechildlikeandrefreshing. HafidwasbominMaraKeshinMoroc¬ coin1947.HelivedintheJewishquarter thereandremembersgrowingupina ver}'multiculturalenvironment.Itwas justafterWorldWarII,andtheFrench Occupationwasstillveryreal.Frequently
ofFrance,Belgium,andGcnnanybefore returningtoMorocco.
therewereclashesbetweentheFrench andthenativepopulation.Hafidisa BerberbutwaseducatedintheFrench SchoolsandspeaksbothFrenchandhis nativelanguage.
Asayoungman,heremembersgoing intothebookshopsandseeing“picture books”byHenri-CartierBressonand AnselAdamsamongothers.“ItwasthenI decidedIwoulddophotography,”he said.“Itwasthenmycoursewasset.”
Whenhewas20,heleftMoroccoand traveledtoEuropewherehewandered aroundforthreeorfouryears.Hespent manyhoursinthemuseumsandgalleries
Uponhisreturn,hebegantoseehis homelandinadifferentway.'Hierugged naturalbeautyofMoroccoandmanyof theplaceshe’dallbutdismissedasa youngmanappearednewandexciting. Hedidmuchofhisworkatthistime,doc¬ umentingtheeverydaylifeofthepeople. ThestreetscenesofCasablancaand Tangier,withthosedark,mysterious,and windingstreetsandalleys,comealivein hiswork.“Forme,peoplearcthemost fascinatingsubjects.Eachfaceevokesa newexperience.”
In1979,someartistssawhispho¬ tographsandgothimhisfirstone-man show.Itmetwithmuchcriticalsuccess. Theshow,whichwasexhibitedatthe CalleryofTourisminCasablanca,got himmuchattention,andpropelledby this,hedecidedtocometotheUnited Statesandpursuehisdream.
So,in1980,hegotonaplaneandflew toNewYork.Hecameonascholarshipto studyphotographyattheNewYork SchoolofVisualArt.“NewYorkreally blewmymind.ItwaslikenothingIhad everknown.Ididn’tspeakverymuch English,soitwashardtomakemyself understood.”
WhilehelivedinNewYork,hetook man}'photographs.Onescriesofphotos featuresstreetscenesofNewYork’sChi¬ natown.'Iheyarepowerful[xrrtraitsofthe Chinesegamblersandthestorefrontsas background.
HebecameaU.S.Citizenin1992. “LivingintheUnitedStateshasaffected metremendously.LivinginNewYork andstruggling,seeingtheAmericanway oflife,hashelpedmetogrowasahuman being.”
When1askhimhowhecametoPort¬ land,hesays,”Itwasverystrange.Icame toMainein1996withafewfriendsfrom NewYork.Wecametopickblueberries andtoescapethesummerheatinthe city.”Aftertheblueberryseasonwasover, hebegantopickapplesintheSebago Lakeregion.Afteranaccidentinthe appleorchards,hewastakentothehospi¬ talinPortland.HelikedPortlandand decidedtostay.IIewantstostarttaking photographsofPortlandnow.“Isec thingsdifferently,Iseethingsnooneelse might,that’swhymyphotosofPortland willbelikenoothers.”Helovesthecityof Portlandandfeelsthattherearemany fineartistsinacitythatisnotthatpopu-
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latcd.Hesays,“rightnowIamtakingpic¬ tureswithoutacamera.Firstthevision, thentheshot.”
WBeulah Gordon
henBeulahGordonspeaksof heryouthinSouthAfricaand thosetumultuoustimesunder apartheidandthegovernment thatenforcedit,shebecomes visiblyemotional.“Ithoughtofmynurse, Rebecca,asanothermother.Shewould carry'meonherbackaroundthestreets ofJohannesburg.Itwasthroughmylove forher,”shesays,“thatIfirstbecame awareoftheterriblesufferingoftheblack peopleofSouthAfrica.”Evenasalittle girl,“myearliestthoughtswere,thisister¬ rible.Howcanthesepeoplebelievethese lies?”AthirdgenerationSouthAfrican withdeeprootsinthecountry,shesays, shegrewupstraddlinganemotional chasm:“1hatedthepoliticalthingsin SouthAfricabutlovedthecountry'.Ina way,itwasn’tuntil1arrivedinAmerica thatIrealizedhowmuch1lovedSouth Africa.”
Shefirstbecameinterestedinartasa youngwoman.“1alwayswantedtomake things,soafterhighschool,1studiedwith mydearfriendMadameMadeline-Min¬ nichD’Erney,famousforhersculptures. Shewasmymentor,whobothencour¬ agedandhelpeddevelopme.Madame D’Emey'cametoSouthAfricafromHun¬ garytoescapetheNaziOccupation.She tookonlyafewpupilsayearandworked very'closelywitheachone.”
AfterstudyingwithMadameD’Erney, Beulahbeganacareerinfashiondesign. “1workedinJohannesburgaswellasin Europe,doingdesignwork.Iwasinthe businessfor18yearsandwantedtogetout ofitfor15!”
In1984,“1wentintoexile.Usinga refugeepassport,IslippedintoNewYork tostudyart.Ispentthenextsixyearsin NewYorkCity,workingandgoingto school.NewYorkwassovery'different fromJohannesburg,andnotquitewhatI hadexpected."
Itwasduringthistimethatthedesireto paintgrewstrongerinherlife.“Ihearda voicesaying,You’vebeenputtingmeoff for35years-onedayI’llbegone.’”
Itwasthenthatherartbegantoemerge withtheundeniablevitalitythatitexhibits today.Gazelle-like,itleapsfrommedium tomedium,shadowtosubstance,utilizing manymaterialsandtakingonmanyforms.
Beulahwastakingonanewform,too. “In1990,afterreceivingmyU.S.citizen¬ shipinNewYork,Ijustpulledoutamap andletmyfingerwander.Portlandis whereitstopped.Now,”shesays,“Maine feelslikeaverywelcominghost.”
Afewyearsago,shereturnedtoSouth Africaasavisitingartistandperformeda slideandlecturepresentationentitled “IdentityPolitics”atRandseAfrikaanese UniversiteitinJohannesburg.Shewas therefor2months,andtheshowwasvery wellreceived.Ilerlastshow,“Farewellto aHomeland,”wasalsoagreatsuccess. Recently,shehasbecomeveryinterest¬ edincollaborativeartandisworkingon “Renounce-Renounce,”ashowwiththe composer-musicianDenisNye.Thisliv¬ ingartwork,whichwillbefilmedandtele¬ visedbythePortlandPublicAccess channel,willbeairedonNovember6, 1998.Theshowwillbesponsoredbythe JuneFitzpatrickCallery'.
Some of her new pieces could be describedasKineticArt-artthatmoves. “Thisisaveryexcitingnewapproachfor me.Thepiecestendtobelargeandtake upmuchofmyCongressSquarestudio, butthat’sallright,Imakeroom.”
Whileherworkhasbeenshownmore thanafewtimesinthisarea,itissureto gainasolidandrespectedplaceinthe futureoftheartsinMaine.BeulahGor¬ donlivesforherartandithasnow becomeintegratedwiththepersonsheis. Shewillcontinuetoexperimentand “makethings”inherowntime,andher ownway.
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Black & White Outdoor Photography
UncleLouie Anunsuspectingvisitor saunteringintotheCol¬ onyHotelgiftshopis apttofindbreezyarti¬ clessuchasMainepinescentedpillows,embroidered throwblankets,andchocolate lobster-shapedlollipops.Apeek behindthesetreasures,howev¬ er,revealssomethingconsider¬ ablymoreinteresting:anearly matchedpairofwall-sizedIm¬ pressionistmuralsofroseson trellisesingardenbowers paintedbyKennebunkport’s prodigalgeniusLouisD.Nor¬ ton(1868-1940).
Indeed,traditionhasitthat Norton,amanofraretalents whom some have begun to call‘theDylanThomasof Mainepainting,’createdthese muralsintheformersmoking roomof(hehotelintradefor slippersattheColonydining room.Howcouldacelebrated graduateoftheAcademicJul¬ ianinParis,aswellasamedalwinneratseveraloftheEcole desBeauxArts’sannualshows, havesunksolow?
In1906,aKennebunk¬ portreporternotedthe arrivalof“asoon-to-be highlyregardedartist andcitizenofKenne¬ bunkport,LouisNorton,a youngartistfromLawrence, (who)hastakentheCurtis1louse
near the Shawmut Inn. There,heusedoils,water¬ colors,andpastelstodisplay hisobsessionwiththepeo¬ pleofKennebunkportand itsnaturalbeauty.Heoften heldopenhouses,inviting townspeopletoviewhisver¬ satileskillsasapainter.
Althoughhenever achievedwealthor nationalrecognition, Nortonendearedhim¬ selftohisnewneigh¬ bors,oftenleavingpaintings ontheirdoorsteps.Norton’s most beloved fans and friendsweretheTurbats Creekfishermenandtheir families;fromthebegin¬ ning,respectandaffection grewbetweenthem,and overtheyearshepainted manypicturesoftheirhous¬ es,boats,andchildren.
In1914,Nortonheldhis firstexhibitattheCustom Ilouse.Soonafter,Norton wascommissionedbyJudge HerbertLuquestodecorate §thewallsofhisdiningroom §inahouseacrossthestreet |fromKennebunkport’sGraves D MemorialLibrary.Norton’s muralsdepictedschooners, churches,andcitizensof Kennebunkport.
NotonlydidNortondo muralsinJudgeLuques’s home,headornedpublic forthesummer,andisfindingKennebunkportmostpaintable.”
ByKateTuller
BorninAshuclot,NewIlampshirc,in1868,Nortonarrivedin
'HieOldTestament.
placesaswell,suchastheMasonicTempleonNorthStreet, whereT/ieBuildersstands150feetlonganddepictsperiodsfrom Kennebunk]X)rtattheageof38afterstudyingatthe RhodeIslandSchoolofDesignandinParis,where asadenizenoftheLeftBankhepickedupataste forImpressionismaswellasabsinthe,anaffliction whichwastheoccasionforhisreturn,athismoth¬ er’sinsistence,totheUnitedStates.IIcrc,heinter¬ pretedtheNewEnglandlandscapewithadroitness, refiningandfinallypersonalizingParisiantech¬ niquesafterhearrivedinthepicturesqueKenne-
NortoninhisTurbatsCreekstudio.
IntheGravesMemorialLibrary,Nortonhas leftusdelightfulillustrationsoffavoritecharac¬ tersfromchildren’sstories(“mygift,"saidthe artist,“totheyouthofKennebunkport”);more recently,panelsfromhisstudiohavebeenres¬ cuedfromthemarshesbytheKennebunkport HistoricalSocietyandmaybeviewedupon request.
bunkport. Beyond that, valuable pastels by Norton adorn the livingrooms In1908NortonbuiltastudioinMusselLodgeinTurbatsCreek,ofliterallyhundredsofhomesinthearea.AuctioneerBillyJohn-
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A/xjvk‘Vaughan’s Island, Autumn,” a seascape, "showstheislandinthefallwiththeleaves"turning. Theoceanandsailboatsareinbackground. Donated to the Urick Store Museum by Peter and WarrenCox,thispastelcamefromtheJuly, 1985 TagSaleat“Seawoon,”novelistBoothTarkington's Kennebunkport, Maine, home.
sonsays“pastelsbyNortonrunanywhere from$l,200-$2,400.”"flicBostonPublic LibraryreportsthatNewEnglandGal¬ leriessold“KennebunkportSnowScene withHorsesHaulingFirewood,”awater¬ color,for$3,400inAugust,1997.Young’sI FineArtAuctioninPortsmouthsold : “ShipinFog,”apastel,for$550in1997.। MysticGalleriessold“MooredDory,”an1 1898watercolor,for$560recently.And’ Keating'sAuctionIlousesoldawatercol¬ or,“OceanAvenue,”thissummerfor $2,000,“thehighestwe’veeverseenone go,”sassJimKeating.
“FishIlouses,TurbatsCreek.”Thispastelmaybe seenattheBrickStoreMuseum.
AportraitsubjectofLouisNorton’s,Pat FessendenofKennebunkBeach,remem¬ bershimas“short,elfish,andalwayswear-
ingbrown,butverypatient,"allowingPat totakebreaksduringtheirportraitsessions inanupstairsroomofherfamilyhome. Pat’sfather,Norton’sdentist,letNorton usehispaintingsinpaymentfordental services.
After1930,everyoneintownknewNor¬ tonwasexperiencingpoorhealthandhad acontinuingdrinkingproblem.Likea YankeeDocHolliday,hewasexhalted andabused;friendslikenovelistBooth Tarkingtondidwhattheycouldtokeep himafloat,buthenolongerheldregular exhibitions,eventhoughhisfriendstried todisplayhiswork.Rumorswererifethat hehadactuallybecomecolorblind, broughtonbychronicuseoftobaccoand alcohol,aswellasnutritionaldeficiencies.
Duringthelate1920s,somemale friendsevensenthimWesttodryoutfora fewweeks,butitdidn’ttake,andinApril 17,1940,theinevitablehappenedandthe artistpassedawayinhishomelookingup atthestarshehadpaintedonhisceiling.
Accordingto Joyce Butler,IouisNortonitburied inanunmarkedgraveinPortland’sEvergreen Cemetery,alongwithhisparents,whowere both bom here.
Justdowntheroad atreasuremaybewaiting
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Above:DetailfromRobertIlamiltmi’s Not‘tiltheFatLadySings,24x24,1997
.Roloeirllnaiinil(on ByPhilIsaacson RobertHamiltonlookslikeafighter pilotandwouldstillfindthecock¬ pitofaP-47aperfectfit.Called theThunderbolt,thatnon-glamourousaircraftwasamainstayof theAnnyAirCorpsduringWorldWar11. Itwasnotableforitsclunkylookingbody -especiallywhencomparedtothatofthe elegantP-51MustangorBritain’seven moresvelteSpitfire.Tirelatter—almost asmuchasportsplaneasawarplanecouldeasilyoutpointitonurbanelooks (anXKEcomparedto,say,aDodgeRam 1500)-butnothingcouldtouchthe Thunderboltfordurability.Itsstrength
andreliancecarriedHamiltonthrough D-Dayand100Europeanmissionstoa DistinguishedFlyingCross.Withafat radiallycooled2000-hpengine,thatpow¬ erfulaircraft,ironically,wasasunderreportedforitsvirtuesasRobertHam¬ ilton’spaintingsarefortheirs. Thereisapointtothisnostalgiaabout WorldWar11.Thestubbylliunderboltobsoleteonthedaythefirstjetfightertook totheskies-isafrequenttransientin Hamilton’spaintings.Itfliesaflat,jaunty course,overthePjiamidsandoceans, overrailroadcarsandcircuswagonsand throughartgalleriesandlandscapesthat,
inonlythemostcasualterms,suggest placesthatexistinnature.AndRobert Hamiltonisitspilot.Iadmitthatthereis nothinginthepaintingsthatinsistson this,butwhoelsecoulditbe?
Ihastentopointoutthatthepilotin thesepaintings,Hamiltonornot,isnot outtocamaDEC.Heisasilentobserver. Hechecksonanunpredictableworld, onethatcouldneverhavebeenandone thatmightbeasmuchasurpriseto Hamilton,itscreator,astoHamilton,the aerialobserver.AsIseeit,Ilamilton,who sometimesisalmostanappendagetothe plane(orittohim),flicsthroughhis workstodiscoverwhathisbrushhas wrought.
Improvisationandfantasyarcthewatch¬ wordsinIlamilton’spaintings.Other thanafewformalsettingsinwhichto stagetheaction,nothinginthemappears tobepreplanned.Itisasthoughatheme worksitselftothesurface,takesthe painterbysurprise,andthenexpectshim tochaseafterit.11ispursuitoftheimage, likeapilot’ssearchforaquarry(some nicefatsteamlocomotivesoracoupleof GermanME-109s),isperpetual.Anidea emergesfromapriorwork,movesfrom paintingtopaintingdevelopingitself,and thenevolvesintosomethingquitediffer¬ ent.Thisprocesscontributesasenseof livelyanimationtoRobertHamilton’s paintings.Theyareneveratrest.
AtriptoHorsePointRoadinPort Clydewillmakeallofthisclear. Inagreatfieldoverlookingthe harbor,Hamiltonhasbuilttwo galleries;one,Callery1,isalong rectangle;theotherisdescribedbyits name,"HieOctagon.Bothareopenseven daysaweekthroughNovember1.Look forasmallgreensignontherightthatsays “MuseumBlvd.”Thegallerieshouse,as Hamiltonputsit,“thelastfreeshowon earth.”Andagreatfreeshowitis.
ThefirstchamberinGallery1issome¬ thingofaretrospective.Itsetsthestageby introducingthekeyqualitiesinHamil¬ ton’sart.Themostobviousisimprovisa¬ tion.Improvisationisclearbothfromthe selectionofformsandfromthemanner inwhichtheyaredefined.UsingDix¬ ielandmusicasametaphor,thereisa centralemotionaltheme-mystery,lone¬ liness,theabsurdityofmanyofthethings thatwedo-butthemanifestationsofthe theme-thewaysinwhichitisportrayedpropelledbywit,satire,andawonderful relationshipbetweenintensecolors,seem
tobeinstantaneouslywroughtandforev¬ erbuoyant.
Here,too,you’llseeHamilton’sformal devices-aforegroundthatactsasastage (aplaceforimprovisationtooccur),a shallowlandscapebehindit,afeatureless sky,asmallroundcelestialbody(sun? moon?other?).OnthelandscapeHamil¬ tonpropsasquareofsomekind.Itmaybe thesideofawheeledcarriage,atinythe¬ ater,arailroadcar,apictureframe,or someotherdevicethatwillacceptasmall picture.And,ofcourse,theThunderbolt isusuallywhizzingby.
ThenexttwochambersandtheOcta¬ gontaketheformaldevicesanddeposit theminEgypt.Inthenearforegroundof manyofthesepaintingsthereisafloating sphere-anout-of-scalebeachballwith coloredsegments.Underneaththeballa foreshorteneddesertleadstoaneven moreforeshortenedbodyofwater.The latterappearstobeariverrunningstraight acrossthecanvas.Beyondtheriverthe desertcontinues,andrisingfromitarc oneortwoice-greenpyramids.Thesus¬ pendedbeachballmayreappear,butthe riveriswheretheactionis.
Onitisasnappyone-manshell, andattheoarsistheno-lesssnappyfigureofOsiris.He’s hardlyoneoftheBiglinbrothers fromaThomasEakinspainting, buthisbackisbenttothework,andhis blackdog’sheadsuggestsdetermination. Inthefirstpaintings,thatgrimdeityisa sportsman,burdenedonlybypersonal goals.Soon,however,asubtleshifttakes place.Hehastakenon-orhasbeen boardedby-apassenger.She’snude,a tadfleshy,andhaslustrouspinkskin. Asthepaintingsadvancealongthewalls, sodoesthebulkofthenude.Shegetsbig¬ gerandheavier,thebeachballgrows smallerandsmaller,andOsirisshrinksin significance.Thefatladyhasmadethe
godoftheunderworldherservant.Final¬ ly,hehastoenlistatroopofOsirislooka¬ likestokeepthevesselunderpropulsion. Withthemworkingtheoars,thingsget snappyagain.
Therearevariantsinallofthis.The beachballmaybeaccompaniedorre¬ placedbyahot-airballoon,strangewhitebreechedfiguresmayemergefromthe sandtosupportthespheres,andthePyra¬ midsmayshrinkinthedesertsun.
Alloftheseaddtoarepertoirethathas includedjugglers,saxophoneplayers,ac¬ robats,magicians,liontamers,George Washington,thegreatFrenchtennisplay¬ erSuzanneLenglou,ForeignLegion¬ naires,fishandsportscarsthatresemble fighterplanes,cats,Venetianlagoons,and funeralcarriages.
RobertHamiltonmovedtoPort Clydein1981after34yearsasa professorofpaintingattheRhode IslandSchoolofDesign.Inhis earlylifeasapainterhewaswhat hedescribesasanAbstractImpressionist. Histrainingwasinthebeautifulcolor relationshipsofImpressionism,and,in tire1950sand60s,abstractionbecamethe orderofhisandmostotherpainters’day. By1970,realismentered(or,moreaccu¬ rately,re-entered)hisworkandhasflour¬ ishedthere,albeitprivately,eversince.I say“privately”becausetheworkisenig¬ matic,moreautobiographicthanHamil¬ tonadmits,andweare,toanextent, voyeurs.Anypainterwhoisanimprovisor andismovedbythemomentisbyneces¬ sityaselfbiographerandwestareatits visualmanifestationsabitself-consciously. LookingataRobertHamiltonpainting keepstheviewersomewhatoffbalance. Therearcnosermons,veiledmoralles¬ sons,expressionsaboutthemajestyof nature,orthelogic-orflightfromlogicofabstraction.Wehavegrownusedto paintingsthathavesomeorallofthese, andittakesabitoftimetocometotenns withapainterwhoisdoingsomething else.ItisnotsufficienttosaythataHamil¬ tonpaintingisajoyousimprovisationand toletitgoatthat.Itisnecessary'tounder¬ standthatHamilton’ssimplifiedimages arepassionate,haveadarksidethatbelies theirobviouswit,andanemotionalcon¬ sistencywhateverformtheytake.They mockusandtheirpainteraswell.Their witpreventsthemfrombeingfrightening, buttheirdeclarationsexposethespiritof thepainter,and,Ithink,touchoursinthe Process.
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ewPortlandersrushingupthe stairsofCity11alltodayrecognize themanwhosehugeportrait— withantiquecollar,pointedbeard, andpiercingeyes—fillstherotun¬ da.Fewerstillwouldremember hisname,announcedbyasilver plaquefixedbelowtheframe: CYRUSILK.CURTIS, 1850-1933.
Curtis,whodied65yearsagothis summer,wasonceoneofthemost famousPortlandersliving,oneof Maine’sfirstself-mademillionaires, themanwhobroughtmasscircula¬ tionmagazinestoabusyAmerica. Once,Curtispromotedpromising careers-likethoseofF.ScottFitz¬ geraldandKennethRobertsandlaunchedlegendarymagazineslike the SaturdayEveningPost and IndiesHomejournal,andshaped theliterarytastesoftwogenerations ofAmericans.
Curtismademillionsdoingit— andgavemanyofthosemillions away.“CyrusILK.Curtis(was) themostgenerousmantohisnat¬ ivestatethatMainehasever reared,”declaredthePressHerald uponhisdeath,“andonewhogave discriminatelyaswellaslavishly.”
Curtismaynothavebeenboth¬ eredbybeingforgottenbybusier times,forhewasamanwholiked alifeofcontrasts—byturnsafail¬ ureandasuccess,apoormanand amillionaire,anobscureprinter andafamouspublisher.ButCur¬ tiswasalwaysproudthatlifebegan inPortland.
reinvestedhiscapitalinmorepapers,and “Inthisway...Ihumblyenteredthenews¬ paperbusiness.”
Cyruswassmallofstature,andbigger newsboysoftenbeathimupandstolehis papers,untilhetooktoshoulderinga
goumeanaPortlandboypublishedthe Saturday^diming^ost,TadicsHomeJournal, andlaunchedthecareerofJ.^cottJte^craldlong before^cottcnerranintoBaxjerkinsat Scribner’s?^cssuhi
tiswaswriting,printing,anddistributing hisownpaper,whileattendingschoolfull timeanddeliveringthecitypaperdailyat 4a.m.—untilPortland’sGreatFireof 1866wipedhisprinteryout. Undaunted,at19Curtisleftschoolfor Boston,wherehissecondpaper, the PublicLedger, wasagain burnedoutbyBoston’sGreatFire of1872.
Curtisnearlyabandonednews¬ papersforhisnextdrcam,tobuild Portland’sbiggestdepartmentstore —hehadevenpickedoutthespot onCongressStreet,bytheWads¬ worth-LongfellowHouse(today the office of WMlW-dV) as “Portland’sbusiestsite”—whena visittothe1876U.S.Centennial ExhibitioninPhiladelphiaagain changedhislife.
Drawnbythecity’sopenpublic squaresanddelightedbyitscheap printingcosts,in1879Curtisthere foundedhisthirdpaper,thefourpageTribuneandFanner. His wife,Louisa,foundhiscut-andpaste“Women&Home”column solaughablypoorthatshetookup hisdaretowriteitherself,withre¬ markableresults.
CuiusCurtis I?rnm Pnnprkntr in Pnnlicnina Tvrnnn FromPaperboytoPublishingTycoon StorybyHerbertAdams
CyrusII.K.CurtiswasbominPortland June18,1850,theonlysonofSalome AnnandCyrusL.Curtis.Uisfather,the trombonistinthePortlandBand,gave him the middle names of “Hermann Kotzschmar”inhonorofthegiftedPruss¬ ianmusicianhehadbefriendedinBoston andbroughttoPortlandtheyearbefore.
DazzledbyKotzschmar’sSundayorgan solosattheFirstParishChurchonCon¬ gressStreet,littleCyruspickedoutthe sametunesonhishandmelodeonat home,beginningalifelongloveofmusic. 1,ifcsoontaughtharderlessons.OnJuly 4,1862,eagerforsomefirecrackermoney tocelebratetheholiday,youngCyrus investedhislast3centsinthreemorning papers,whichhesoldfor9cents.Butthe salestookallday,andtrudginghometoo latetobuyfireworks,thenextdayCyrus
hugestackandhotfootingittotheferry docks,wherehesailedtoFt.Prebleand soldthepiletoeagersoldiersforaprofit.
Oneofthefirstfeaturesactually writtenbyawomanforwomen, thereal-lifecolumnquicklybe¬ cameafullpageandfinallya monthlysupplement,TheLadies journal,sopopularthatCurtissold theTribuneandkeptthesupple¬ ment,underanewname:the LadiesHomejournal.
ThehomeofCyrusCurtis,onthecomerofCumberland <5 Brown, hus demolishedyearsagoandisnowoccupiedbya aparkinggaragebesidetheShhhh!Confidentialbuilding. Inbusiness,Curtislearnedquickly,an untappedmarket—andthefleetoffoot —alwaysbeatthecompetition.
Witha$2handpressCurtisstartedhis ownone-sheetpaper,theYoungAmerica, andpeddleditdoortodoor.At15,Cur¬
Thetitlewasastrokeofluck—the printingroomhadinsertedastockwood¬ cutlabeled“Home”betweenthetitle words,andthenewnamestuck—but theerrormadeitapublishingmiracle.In thosebustlingpost-CivilWardays,Amer¬ ica’sbusywomen,eagerforoutlets beyondthehome,madetheLadiesHorne journaloneofthefirstAmericanmaga¬ zinestohittheonemillioncircidation mark.EvertheYankee,Curtisrejected advertisementsforpatentmedicines,cos¬ metics,andgct-rich-quickschemes,and circulationsoared.Aseditor,Curtis installedhisson-in-law,theDanishimmi¬ grantEdwardBok,andstoodstaunchly behindhimwhenBoklaunchedafrank seriesforwomenaboutsexeducationand birthcontrol.
In1897,for$100down,Curtisbought
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thenear-defunctSaturdayEveningPost, theonce-famousjournalstartedbyBen Franklinin1728.Barely1800subscribers remained,butCurtischoseBostonjour¬ nalistGeorgeH.Lorimerasthenewedi¬ tor,promisinghimfreereign.
Itwasawisepromise:togetherLorimer andthePostmadepublishinghistory,the PostasthefirstAmericanmagazinewitha weeklycirculationof5million,andLor¬ imerasthefirsteditorshrewdenoughto featuresuchauthorsasWilliamFaulkner, EdnaSt.VincentMillay,KennethRoberts, andF.ScottFitzgerald—andsoonthe NormanRockwellcoversthatreminded CurtisoftireoldNewEnglandheloved. uchsuccesscarriedaprice.At theturnofthecentury,byall accounts,theCurtisPublishing aZICompanywasathrivinggiant— anditsfounderCyrusCurtiswas *ashort-tempered,hard-driving,worka¬ holic.Atage50,whendeniedlifeinsur¬ ancebythreedifferentcompanies,Curtis madeanotherlife-changingchoiceand steppedsuddenlybackfromthehelmof hisempire,fromaworldofgainingintoa worldofgiving.
CUNNINGHAM Curtisbecameanavidgolferonthe groundsofhissweepingestate,“Lyndon,” nearWyncote,Pennsylvania,andanavid yachtsmanaboardhis230-footLyndonia, thenthethirdlargeststeamyachtinthe world.Annuallythevastvessel—sobig thatwhenitstwinpropellerswerecarted downCommercialStreetforrepair,they blockedtheentireroad—pulledinto PortlandHarbor,hersleeklinesstillre¬ memberedbyolderPortlanderswhosaw itasawedchildren.Toberthher,Curtis builtandopenedtheCamdenYacht Club(stillstanding)andtookprideinthe sweepofseaandsailsvisiblefromthe manicuredlawnsof“Lynwood,”hissum¬ merhomeatBeauchampPoint,Rockport. CurtisalwaysclaimedtheideaofanallAmericanmagazineliketheSaturday EveningPostcametohimasaboywhile readingatFessenden’sNewsstandinOld Market(nowMonument)Square,andhe happilyrewardedMaineforhismillions. ManyofCurtis’sgiftstoMaineseemed mindfuloftheeducationheneverhad, andwerescatteredacrossallpartsofthe statehisbusyboyhoodhadgivenhimlit¬ tlechancetosee.
Curtis’sgiftstoMaineincludedalmost $1milliontoBowdoinCollege,$250,000 eachtoNorthYarmouthAcademyand theMaineGeneralHospital(nowthe
COUKSK& MAU. SERVJCT
MaineMedicalCenter),$100,000each tothePortlandBoy’sClub,Fryeburg Academy,Montpelier-areplicaofGen¬ eralHenryKnox’smansioninThomaston —andelaboratepipeorganstoBowdoin andtwochurchesinKnoxCounty.
PerhapsCurtis’sproudestgiftwasthe 6,500-pipeKotzschmarMemorialOrgan, thenoneofthelargestintheworld,to adornthenewcityhallPortlandbuilt nearhisoldchildhoodhomein1912. Curtisdonatedthehugeinstrumentatthe lastmoment,matchingitwithanother $23,000toaltertheauditoriumofthenew building,andwaspresentatthededica¬ tionofbothinAugust1912.There,he spokefondlyofthemanwhobrought musicintohislife,HermannKotzschmar.
Curtisalsoendowedamunicipalorgan¬ ists’fund,andinsistedthatthecityhold freepublicconcerts,whichprovedsopop¬ ularthatpapersreportedthecitycrime ratedroppedwheneverthedoorswere open.“Wonderful,”Curtisclaimed:“1 receivedaletterfromtheChiefofPolice sayingthatallhistroubleswerenow over...asallthecrooksinPortlandwerein CityHallSundays,singinghymns!” Totheendofhislife,Curtistookpride insailingintoPortlandharborandvisiting tiregreatstageofPortlandCityHall,not farfromhisboyhoodhome,fromwhose frontstepshehadoncesetouttosellhis firstpapers.Attheconsoleofthe KotzschmarOrganhewouldpickouta fewchordsbycar—forhehadstillnever learnedtoreadmusic.
Curtis’slastvisitcamein1932.Hedied ofheartfailureatWyncoteonJune7, 1933,oneofAmerica’sgreatestpromoters ofpopularliteratureandpopularmusic.
TodayfewPortlandersrecognizethe nameofCyrusH.K.Curtis;mostofhis oldPortlandhasvanished,andevenhis boyhoodhomewastorndowninthe 1940s,thesite(atthecomerofCumber¬ landAvenueandBrownStreet)todayserv¬ ingasaparkinggarage.The Saturday EveningPostitselfdiedin1969(themodem Postisarevival),asignofchangingtimes andchangingtastesinabusyAmerica.
ButtheKotzschmarMemorialOrgan stillpealsinanewlyrestoredMerrillAudi¬ toriumthatisasgrandasCurtishimself couldhavewished,asymbolofCurtis’s manygiftstoMainethatarehistrue memorials,andremindersofthelifeof contraststhenewsboy-turned-millionaire liked:“Thefirsthalfgathering,thelast halfgiving.”
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seafood,lobster,freshpasta,microbrews,andMaine’slargestsingle maltscotcheslist(773-4340).Torino'sStoneOvenPizzeria combineswikimushrooms,prosciutto,artichokehearts,andfresh herbstocreateauthenticgourmetpizzafromoldNaples(780-6600). Allthreerestaurantsarelocatedat164MiddleStreet. Youcan'tbeatthelocationofDiMillo'aFloatingRestaurantat25 LongWharfoffCommercialStreetforfabulouswaterviewsof PortlandHarbor.Escapefromthehustleandbustleofthecityby watchingtheboatsgobyasyouenjoyfreshMainelobsterserved year-round,steak,seafooddishes,andmore.Open7daysaweek from11am.to11p.m.,withachildren'smenuavailable.For drinksandalightermenu,trytheirPortsideLounge.772-2216. WelcometoF.ParkerReidy’s,siteoftheoriginalPortlandSavings Bankbuiltin1866at83ExchangeStreet.Establishedin1976 duringtherenaissanceoltheOldPortarea,F.ParkerReidy'shas becomeaPortlandfinediningtradition,specializinginsteaksand freshseafood,butalsoofferingpasta,chicken,andsalads,with primeribfeaturedonweekends.Turn-of-the-centurydecor, personalizedservice,andgreatfoodcreateawarmandcongenial atmospherepopularforbothbusinessandintimatedining.773-4731. DeepintheheartofthemysteriousWoodfordsareaat540Forest AvenueistheGreatLostBear,whereyou'llfindafullbarfeaturing over50(that’sright,five-o)draughtbeers,predominantlyfromlocal micro-breweries.Accompanyingthemisanenormousmenuwith everythingfromsoups,salads,andsandwichestosteaksandribs, aswellasalargevegetarianselectionandthebestnachosand buffalowingsintown.Discoverwherethenativesgowhenthey're restless!Servingfrom11:30a.m.to11:30p.m.sevendaysaweek. 772-0300.Visituson-lineat:http://www.ime.net/bear/ Freeport—HarraseeketInn,2blocksnorthofL.L.Bean,isone greatcountryinnwithtwogreatrestaurants.Enjoybreakfast, lunch,dinner,afternoonteaorSundayBrunchinanelegantmain diningroomwhichfeaturesclassiccuisine,tablesideservice,and flambes.TheBroadArrowTavernoffersanopenkitchen,wood firedovenandgrill.AAA****ZagotandWineSpectatorAwardsof Excellence.84rooms,indoorpool,extendedstaycondos.Open 365days,majorcreditcards,www.stayfreeport.com. Harraseeke@aol.com.800-342-6423.Fax207-865-1684.
Hugo'sPortlandBistro,accessiblylocatedattheintersectionof MiddleStreetandFranklinArtery,wasPortlandDiningGuidefs 1996GoldMedalWinner.Theinnovativemenuchangesmonthly andfeaturesfreshseafoodandinterestingvegetariandishes.Crab cakesareahousespecialty,andparkingisavailable!Serving dinneronlyTuesday-Saturday,withlivepianomusicnightly.For reservationscall774-8538.
Katahdin,atSpringandHigh,oppositetheartmuseum, specializesIncomfort:comfortablefoodacrossatantalizing culinaryrange,comfortableatmosphereandwaitstaff,and comfortableprices.ItsIdentifiablyloyalclienteleestablishesits credibilityandpopularity.Trythefishchowder($2.95/3.95), crabcakes($13.95),grilledseascallopswithspicylime& vegetablevinaigrette($14.95)orthechef’sBluePlateSpecial ($10.95).Allhomemadedessertsincludingtheirownicecream& sorbets.Tues-Thurs,5-9:30prn;Fri&Sat5-10:30.Tel:774-7140 Maria'sRistorante,est.1960byowner/chefAnthony Napolitano,offersexquisiteItaliancuisineplusalargevarietyof Italianwinesbytheglass.Spacious,beautiful,Italiandecorated diningrooms.Privateroomsavailableforlargeparties.Specialties: vealsaltimboca,lobsteralfredoorfradiavoloandfriedroasted garliccalamari.Desserts:pannacotta,chocolateamarettofudge cake,andNapolitano’sownpistachiogelato.Lunch:$5-$8, Tues-Fri,11:30am-2pm.Dinner:$10-319,Tues-Satfrom5pm. 337CumberlandAve.,on-siteparking.Tel:772-9232. MozonMiddle'smeltingpotapproachtonouvellecuisineblends Americaningredientswithclassicaltechniques.Somefavorite menuitemsareaMainelobsterandgoatcheeseburritowith tomatillosauceandmangosalsa;grilledfiletmignonoverovenroastedredpotatoeswithaparmesancrispandvintageportdemiglaco;andfreshnativetunawrappedinsun-driedtomatopesto andItalianprosciuttowithabasilbuerreblanc.TheirBellinicocktail isthehighlightofauniqueselectionofwinesandliquors.Parking andterracediningareavailableat47MiddleStreet.Open Tuesday-Sundayat5p.m.fordinner.774-9399.
Natasha's. Portland'snewestrestaurantfeaturingNewAmericanstylemenuslorbrunch,lunchanddinnerpreparedwiththefreshest ingredients,includingpastas,localfish,grilledmeats,andmany
vegetarianselections.LunchTu-F,11-2:30;DinnerTu-Th,5-9; F-Sa,5-10;BrunchSa-Su,8-3.40PortlandSt.,774-4004. Handicappedaccessible.
TheOideHouse,theoldesthouse(c.1790)inRaymondsitting alongsidePantherRunonRt85,offersaclassic,Europeanbased cuisine(BeefWellingtonBordelaise,SteakauPoivre)withthebest Mainetouches(chowder,LobsterGrandMarnier,BakedStuffed Haddock).Elegantandcomfortable,theOideHousecatorstoall ages.RecipientoltheGourmetDinerClubofNorthAmerica GoldenForkAward(98).Dinnerserved5-10pmnightty;5-9pm Tues-SunafterLaborDay.Visa/MC,casualdress,reservations accepted;specialpartiesbyrequest.655-7841.
ThePepperclubisaprize-winningrestaurant(‘BestVegetarian* and‘BestValue*inFrommer’sGuidetoNewEngland)featuring creativeworldcuisine.Itsblackboardmenutypicallylistsfive vegetarian,threefish,andthreemeatentries.Includingasuperb organicbeetburger.Peppercluboffersrelaxed,colorful,unusually affordablediningontheedgeoftheOldPortwitheasy,free parkingandgoodwinesandbeers.Opennightlyat5p.m.; paymentbycashorpersonalcheck.78MiddleStreet,near FranklinArtery.772-0531.
Ricetta'sBrickOvenPizzeria,voted’BestPizzainMaine*since 1990bythePPHandCBW,Ricetta'sistrulyatasteoftheold country.M.E.CurlyofthePPHraves:'Ricetta'sisarguablythe bestpizzawestofRome.*Dine-in,take-out,delivery,andcatering areavailable.Theall-you-can-eatgourmetlunchbuffetincludes pizza,pasta,soup,andsalad.KidseatFREEduringSundaylunch buffetandMondaysfrom3p.m.untilclosing.Locatedat29 WesternAvenue,SouthPortland.775-7400.
SaigonThinhThanh,608CongressStreet,Portland.*Ofthe137 restaurantslistedinthe1996-97edition,SaigonThinThanhisa four-starrestaurantrankedfirstinvalue.SaigonThinThanhis Maine's—andprobablyNewEngland's—finestVietnamese restaurant.*—PortlandDiningGuide.'Fourstarsforfood,service, andvalueformoney.Withgood,healthy,flavorfulfoodandquick serviceinapleasant,cleanatmosphere,SaigonThinThanhis worthinvestigating.*—PressHerald.773-2932.
Sevanah’s.Comeandeat‘SomethingDifferent.*Ourauthentic cuisineissuretospleenupyourtastebuds.MaineSunday TelegramreportsSevanah’sisPortland'snewestfourstarexotic foodexperience.CaribbeanandCajun-creolecookingatitsbest servedinabrightandfriendlyatmosphere.Selectivefourstar dishesincludeRoti,CurryShrimp,JerkChicken,Jambalaya, Gumbo,HomemadePecanPieandmore.Dinner(Tue-Fri510pm),Lunch(Thur&Fri11:30am-2:30pm).FridaysHappyHour 5-7pm,Sat11:30am-10pm.Sun1-8pm.144CumberlandAve. 761-7654.MC.V,AMEX.
SnowSquall,knownforgreatMaineseafoodandlobster,also servessteaks,chicken,veal,filetofbeefandvegetarianselections. Offeringcasualdiningaswellasfulldinners,luncheonInthepatio ordiningroom,Mon-Fri,11:30-9:30.Happyhourdaily4-6,double drinkssinglepriced,wineandbeerspecials,freemunchies.Early dinners$7.95:Mon-Sat,4:30-6andSun,2-6.FamousSunday brunchbuffet,11-2.LocatedinSouthPortlandwaterfrontmarketat 18OceanStreet,ampleparking.799-2232or800-568-3260.
TortillaFlathasbeenservingNewEnglandersfineMexicanfood anddrinkforover25years.At1871ForestAvenueinPortlandyou canfindfavoriteslikenachos,fajitas,chimichangas,tamales, burritos,tacos,enchiladas,andfrozenmargaritassevendaysa week,aswellasseafood,steak,pork,andchickencookedwitha Mexicanflair.Withlunchspecialsstartingat$3.95,achildren's menu,nightlyspecials,aChiliHappyHour,ascreened-indeck, andtake-out.TortillaAatisamemorableMexicanexperienceyou canaffordanytime.797-8729.
ZephyrGrill,neartheStateTheater,setsaninvitingmoodwith richcolorandtinyspotlightsthatendowthetableswiththe atmosphereofprivateislands.Itsregularlychangingmenu encompassesvegetarianentrees,seafoodandgrilledmeats: perhapsacrispcorntostadawithsmokedduck;slowwoodroastedporkloinandcannellinibeans;orpan-friedvegetarian hashwithgrilledveggies.Dinner7nights,5toclosing.Sunday breakfast9:30-1:30.653CongresswithfreeparkingbehindJoe’s 828-4033.
Ifyou’rewonderingwhyartist LouisNortonwouldspendthe betterpartofasummerpainting muralsintheColonyHotel’s smokingroom(nowthegift shop-seeourstoryonpage26)in exchangeformealsintheColonydin¬ ingroom,you’veprobablyneverhad Sundaybrunchthereyourself.
ThisSeptember,withtinehotel’sfam¬ ousjazzcontinuingthroughthe27th, youcanchangeallthat.
Forjust$16,withtheRobSpaulding JazzTrioplayinginthebackground, you’llfindyourselfdazzledbythe choicesaswellassparklingoceanviews whichextendfromtheColony’sprivate beachallthewaytoNubbleLightin York.
ChefDarrenWatsondelightsdiners withRoastNewYorkSirloinwithhorse¬ radish,BakedMaple-CuredHam,and RoastWholeTurkeyslicedhotand deliciousfromthebuffet.
Aspecialtreatduringourrecentvisit
REVIEW OmmicikAl1IkeColoimy waspilesofwhite,fabuloussteamers withdrawnbutter.
Besidetheclams?Lobster,Crab,and
ShrimpNewburg,SeafoodFettuccine, achickensalad,hickory'smokedbacon, andsweetsausageandpeppers.Before theclams?FrenchToast,Blueberry GriddleCakes,F.ggsBenedict,omelets toorder.Butthat’snottosaywemissed thepreludes.TheColony’ssaladsarc legendary(freshgardengreens,chick¬ en,potato,andpasta),andthestrawber¬ ries,melonwedges,gourmetcheeses andcrackers,asparagusinhollandaise sauce,andotherfreshseasonalfruit addedtoaglowalreadybegunwith freshsqueezedorangejuiceandgreat coffee.
Hereisdessertfromfreshcakesto pies;hereiswherethey’vebeenkeeping alltheNewEnglandbreadpudding; herearcthecoffeecakes,theEnglish trifles,theColony-embossedchinawith thewavesdancingwithinviewofevery table.
Andnow,thusfortified,wewereready tovisitLouisNorton’smuralsandfeast our eyes. jfc
IFreePickup!I Put some "Good" in the Goodbye! |
Donate your used boat, auto, plane or camper to the I National Kidney Foundation ■ of Maine and three great । thingswillhappen!You’llgetI an unneeded boat or auto conveniently picked up. You I may get a great tax I deduction.Youwillhelpkeep our patient and our I community programs going. 1 Please call: ■
MoseomsmudGmleries ArtWorksGalleryatMaineCollegeof/\rt,522 CongressStreet,Portland.'Thisisasalesgalleryofstudent andalumniworkalongwithworkfromtheMaine CraftsmanAssociationincludingpainting,jewelry, sculpture,woodandmore.'Hiegallery'isopen11a.m.to 5:30p.m.Tuesday,Wednesday,FridayandSaturdayand hasextendedhours,11a.m.to8p.m.,on'Hiursday.For moreinformation,call775-5098.
BatesCollegeMuseumofArt,BardwellandRussell Streets,Lewiston.'Iliemuseumisopen'Tuesdaythrough Saturday10a.m.to5p.m.andSunday1p.m.to5p.m. Admissionisfree.DuringSeptembertheypresent NotationsinColor,MaineOilSketching, andtheyalso holdhighlightsfromtheirmuseumcollection.In Octobertheywillhave FiveDecadesinPrint works inspiredbyliterature.786-6158.
BayviewGallery,75MarketStreet,Portland.From September3throughSeptember30theywillbeshowing “ContemporaryWaterColor”ashow'offourw-atcrcolor artists.'Hiegallery'isopen10a.m.to5:30p.m.Tuesday throughSaturday.Forfurtherinformationalx)utexhibits, call773-3007.
BowdoinCollegeMuseumof/\rt,9400CollegeStation Brunswick.Thecollegemaintainsthreepermanent galleries.TheBowdoinGalleryhouses Portraitsfromthe PermanentCollection. 'IbisexhibitshowcasesAmerican portraiturefromthepermanentcollectiondatingfrom theeighteenthtotheearlytwentiethcentury.The exhibitionfeaturesprimarilypaintings,butalsoincludes decorativearts,sculpturesandminiatures.TheBoyd Galleryhouses European Art From the Permanent Collection. Thisgalleryhighlightspaintingsfromthe permanentcollection,especiallyacollectionofworks givenbytheSamuelII.KressFoundation.Decorative artsandsmallersculpturalobjectsarcalsoonview'.'Ibe WalkerCalleryhouses ArtandLifeoftheAncient Mediterranean highlightsthegreateststrengthsofthe museum’spermanentcollection,artfromtheancient Mediterranean.'Ilieartdisplayedinthisgallery'spans thefourthmillenniumB.C.tothefourthcenturyA.D., theAssyrian,Egyptian,Cypriot,Greek,andRoman objectsinmarble,terracotta,bronze,stone,ivory,and glassillustratetheculturalinterconnectednessofthe regionandhowdevelopingculturesborrowedfromand builtuponearlierones.'Iliegalleriesareopen10a.m.to 5p.m.'TuesdaythroughSaturdayand2p.m.to5p.m.on Sunday.Admissionisfree.Formoreinformation,call 725-3275.
ColbyCollegeMuseumofArt,5600MayflowerHill, Waterville.June24throughSeptember27JohnMarin exhibitofhispaintingsandwatercolorswillbeondisplay. August 12 through October 11 Tobi Kahn: Metamorphosis willbeonexhibit.AlsobeginningAugust 12andrunningthroughNovember1PhotosbyBerenice Abbottwillbedisplayedincommemorationofher100th birthday.August24throughOctober30 A Walk ThroughthePaperForest:thelatinoPrintandDrawings fromLeMuseodelBarro willbeondisplay.During NovemberandDecembertherewillbetheColbyfaculty exhibit.Themuseumisopentothepublicandfreeof charge10a.m.to4:30p.m.MondaythroughSaturday and 2 p.m. to 4:30 p.m. on Sunday. For more information,call872-3228.
DanforthGallery,20-36DanforthStreet,Portland.An exhibition entitled “Metalsmithing in the New Millennium” is scheduled from September 11 to
October4.'Thisexhibitionwillfocusonthreenew techniquesandonenewmaterialbeingpioneeredby contemporarymctalsmitlisandjewelers.'Hiefourfocus areaswillbe:workcreatedusingtheIlydraulicpress, Workcreatedusingthetechniqueoffold-forming,work createdusingtransferetching,andworkcreatedusingthe materialPreciousMetalClay.Workshopsforadultsand childrenandtwolectureswillbepresentedduringthe exhibitionatdifferentvenuesinthePortlandarea. Workshopswillinclude“PreciousMetalClayWorkshop Maine Collage of Art” with Linda Kaye Moses September11throughthe13.AlsoaProfessional Workshop double header, "Fold-Forming and the HydraulicPress,”withCharlesLewton-Brainandlx‘e MarshallwillbeheldfromSeptember18through September20.'Hiegalleryisopen12p.m.to4p.m.on Wednesday,Saturday,andSunday.Ithasextendedhours 12p.m.to8p.m.on'ThursdayandFriday.General admissionisfree.Formoreinfonnation,call775-6245.
FarnsworthArtMuseum,352MainStreet,Rockland. 'Hiemuseumisopen10a.m.to5p.m.Tuesdaythrough Saturdayand12p.m.to5p.m.onSunday.Admissionis $5foradults,$4forseniors,and$3forchildrenages8to 18.SpecialExhibitsinSeptemberinclude Wonderis Strange:Pile,Wyeth,Wyeth,andWyeth whichincludes theworksofHowardPileandAndrewWyeth,N.C. Wyeth, and Jamie Wyeth and Ceorge Morgan: Self TaughtPainterinMaine. 596-6457.
GleasonFineArt,15OakStreet,BoothbayHarbor. OngoingexhibitsincludethepaintingsofJarnos Fitzgerald,IIclcnSaintclair,EmilyEveleth,andAndrea PetersandthesculptureofCabotLyfordandDon Mescrve.AspecialexhibitofMitchBillis’NewPaintings willbeondisplaythroughSeptember.'Iliegalleryis open'TuesdaythroughSaturday10a.m.to5p.m.orby appointment.Formoreinformation,call633-6849.
Governor’sStateHouseGallery,StateCapitolBuilding, comerofCapitolandStateStreets,Augusta.'Iliegallery isopenMondaythroughFriday8:30a.m.to4:30p.m. Admissionisfree.SpecialExhibitsinSeptemberinclude Ogunquit Art Museum Paintings, Ogunquit Art AssociationWorks,andStudentPosters. 287-3531.
GreenhutGalleries,146Middlestreet,Portland. September features Connie Hayes’s show "New BorrowedView's”fromSeptember3toSeptember30./\ publicreceptionwillbeheldSeptember3from5p.m.to 7p.m.Galleryhoursarc10a.m.to5:30p.m.Monday throughFridayand10a.m.to5p.m.onSaturday.For moreinfonnation,call772-2693.
JonesMuseumofGlassandCeramics,DouglassHill, Scbago.llrisgallery'housesaninternationalcollection ofglass,pottery,stoneware,andporcelainfrom1200B.C. tothepresentthatincludesSandwichglass,Chinese Export,Baccaratpaperweights,Majolica,AmericanArt Class,SorchesterPorcelain,andmore.Museumhours areMondaythroughSaturday10a.m.to5p.m.and Sundayfrom1p.m.to5p.m.(throughmid-Novcrnbcr). Admissionis$5foradults,$3forstudents,$3.75for seniorsandAAAmembers,andfreeforchildren.For moreinfonnation,call787-3370.
Maine Historical Society Gallery/ WadsworthLongfellowHouse,489CongressStreet,Portland.The galleryisopendailyfrom10a.m.to4p.m.Admissionfor atourofthegalleryandthehouseis$5foradultsand$1 forchildrenunder12.JunethroughOctobertheGallery featuresthe“'Rum,Riot,andReform’:Maineandthe HistoryofAmericanDrinking”exhibit.Also, Cuided ToursofPortland’sProhibitionHistory beginat2p.m.
■ LISTINGS ■ Formoreinformation,call879-0427.
IlieMuseumofAfricanTribalArt,122SpringStreet l)etwccnParkandHighStreets,Portland.Aworldclass collectionofuniqueAfricantribalmasksandartifacts representingover1,000yearsofCentralAfrican history.
O’FarrellGallery,Brunswick.AnexhibitofNeil Wcllivcr’spaintingsanddrawingswillbeondisplay through September 12. September 18 through October31paintingsbySheliaGeoffrionwillbe exhibitedalongwiththeworksofKaren1leaglcinthe PetitGallery.'IliegalleryisopenMondaythrough Saturday10a.m.to5p.m.Formoreinformation, contact207-729-8228orwww.maine.com/ofarrell.
OgunquitMuseumofAmericanArt,ShoreRoad, OgunquitSpecialeventsincludeaguidedtourof “'IlieIsleofSkye:PaintingsbySherryPalmer,”bythe artistonSaturday,September12at11a.m.The museum is open 10:30 a.m. to 5 p.m. Monday throughSaturdayand2p.m.to5p.m.onSunday. Admissionis$4foradults,$3forseniorsandstudents, childrenunder12arefree.646-4909.
Peary-MacMillanArcticMuseum,HubbardHall, BowdoinCollege,Brunswick.'Husmuseumdisplays thefurclothing,snowshoes,pickaxes,knives,guns, andoneofthefivesledgesthatRobertE.Pearytookto theNorthPole,aswellastheEskimopotsandlamps, ivoryandsoapstonecarvings,huntingweapons, clothing,andfull-sizeskinkayakthatDonaldB. MacMillanencounteredonhisArcticexplorations.
Ongoingexhibitsinclude:“S.S. Roosevelt: Modelof Strength,”anadmiraltymodelofRobertE.Peary’s Maine-builtshipofexploration.Itisalsofeaturing Facing The Future: Masi Making of Alaska. The galleriesarcopen10a.m.to5p.m.Tuesdaythrough Saturdayand2p.m.to5p.m.onSunday.Formore information,call725-3062.
Portland Museum of Art, 7 Congress Square, Portland.ThroughSeptember27Winslow Homer: FacingNature willbeondisplay.ThroughOctolxir18 is ImpressionsoftheRiviera:Monet,Renoir,Matisse andtheirContemporaries. 'Hiisexhibittakesyoutothe famedandfabledCoted’Azurthroughtheeyesof ClaudeMonet,IlenriMatisse,AugusteRenoir,Pablo Picasso,PierreBonnard,andmanymore.Fordecades, thebeautyofthissmallstretchoftheMediterranean coastdrewthegreatestartistsofthelate19thandearly 20thcenturies.Thisexhibitioncelebratestheir inspirationandmemorablecreations. Modem Color. MaineWatercolorsbyCarlCordonCutler willbeon exhibituntilOctober4.CarlCordonCutlerwasa pioneerAmericanModernist.Notonlydidheexhibit paintingsinthegroundbreaking“ArmoryShow”of 1913,buthealsothatsameyearfoundedthe“Four BostonPainters”(includingMauricePrendergast),a groupofartistswhosoughttomakewatercolor paintingavitalpartofthenewModernistmovement. After1925,Cutlerworkedexclusivelyinwatercolor, andhisstrongestpaintingsofthistimeperiodarc landscapes picturing Penobscot Bay and the surroundingregion.Thisselectionof16ofthe59 watercolorsgiventotheMuseumin1997shows The RmstHaasMemorialCollection isondisplayuntil October11.'Illisexhibitcelebratestheartisticlegacy ofphotographerErnstHaas.Forthelast12yearsofhis life,HaasspentsummersinRockport,Maine, teachingatIlieMainePhotographicWorkshops.For moreinformation,call775-6148.
-CompiledbyHeatherRebmann
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HOUSE OF THE MONTH ■ chanceofmydyingapoormanasthere isofeverfindingthatringagain.’Onlya fewdayslater,Carltonfoundhisringin afishservedathistable...andwhen PresidentMadisonembargoedAmeri¬
YoucouldownoneofWiscasset’s mostbeautifulFederalhomes and,inthebargain,beconnect¬ edtoapropertyforeverimmor¬ talizedinthepagesofRipley’s BelieveItOrNot.That’sright-Moses Carleton,thelumbermerchantprince whosecargoeswereindemandallover Europe-was “The Man Who Chal¬ lengedFate...AndLost!”
In1800,accordingtoRipley,he “threwhisgoldringintotheSheepscot Riverandboasted:‘Thereisasmuch
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Actually,itwasJefferson’sEmbargo thatforcedNewEngland’sshipstorot atthewharves,butwhyquibblewith Ripley’s?Carltondescendants,who continuetoliveinWiscasset,acknowl¬ edgethestoryistrue.
Themansionat12HighStreet(just doorsawayfromCastleTucker)did
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2.2>bathtownhousecondominiumispartofa62acre JFTJcommonsharedpropertywithover2.000feetof frontageonthePenobscotBay.Allrightinthe middleoftheexpandingart&museuminfluence ofthemid-coast.Justminutesfromthe •amsworthMuseum.Caforcoorbrochure<v
Tothisdaymyfatherinsiststhat1 conspiredwithtwoprostitutes, apriest,ajunkpicker,andthe PortlandPublicWorksDepart¬ menttoradicallychangehislife sohewouldbecomeapropergrand¬ fathertomytwinswhowerenotyetbom tomywifewho1hadnotyetmet. HewilltellyouIbeggedhimtovisit meonhis57thbirthdayandIdemand¬ edhebringhisgirlfriendwithhim. Sonyasomething.23yearsyoungerand temporarilyunderhisspell.Myfatheris acharmingman,buthewearsonyou. Hedoesn’twalkintoaroom.Hesucks inhisstomachandenters.Youdon’t hearhisbaritonevoicesomuchasfeel itinthenapeofyourneck.Inthosedays ittookhisaveragegirlfriendabout6 monthstorealizehewasn’tperforming forher,thatheperfonnsforeverybody.
ItwasaSeptemberSaturdaymorning withatasteofwoodsmokeintheair whenmyfatherpushedpastmeintomy apartmentwithoutsayinghelloandhur¬ riedovertothewindowoverlooking DeeringAve.1introducedmyselfto Sonyaandthenweturnedtofacemy father.“What’shappenedhere?”He saidandturned,spreadhisanus,hands palmsup,outthewindow.1droughthe mightburstintosong,somethingfrom “Oklahoma”or“Evita”-hedocsthat. Buthesaid,“It’sadisastermovie.”
Itwas,asCits'Ilallcallsit.Portland's AnnualLargeItemPickUp.Theside¬ walkwasclutteredwithbrokenkitchen chairs,warpeddoors,oldmattresses, windowframes,andotherindescribable remainsofsearsofhouseholdstruggle. '‘Theydothisevenyear,"Itoldhim. “Theyhauljunktothedump.”
“Notthestuff,”ms'fathersoiled,“the locals!"
Then1sawitthewayhesawit.Scav¬ engersscurriedoverthejunkpilesup anddownthestreet,hurriedlydigging intothestacksofdebris,pullingthem apart,andthrowingstuffaside.Theydid looklikesurvivorsofsomekind.The fortunatesearchingfortrappedrelatives.
Myfatherwasthrilled.“Let’sgo.”he saidtoSonyaandgrabbedherarmand ledherdownthestairs. ItwastwilightwhenSonyaappeared
FICTION NewFiction ByDanielDomench
atmydoor.Weeping.“I’velefthim,” shesaid.“I’msosorry.”Andthenshe huggedmewithherbestmotherlyhug, whichwasnotallthatmaternalsince shew’aseasilyfiveyearsyoungerthan me.
Shecouldn’thaveknownhow'many timesI’vebeenthroughthis.Icomfort¬ edherasbest1couldanddroveherto theairport.ThenIwentlookingformy father.
IfoundhimonthefrontstepsofSt. Mary’sRectory'.Aprieststoodtwosteps abovehimintheopendoorwaywitha baseballbatbehindhisbackanda muscularcreasebetweenhiseyes.On
thesidewalkbehindmyfatherthere weretwoyoungwomenwearingfrilly blousesandcostumejew'drythatelder¬ lywomenconsideredsnappytenyears ago.Oneofthem,atallthingirljustout ofherteens,wasswayingsidetosidelis¬ teningtoaprivatechoirofangels.The heavyonewavedatpassingcarswitha desperatefriendliness.Noonewaved back.Myfatherheldupanendtable andaddressedthepriest,“Don’tbe alarmed,”myfathersaid,“I’mapsy¬ chotherapist.”’Hiepriestputthebase¬ ballbatonhisshoulder.Myfather pointedtosomethingWTittcnonalegof thetable.“Ixiok.‘PropertyofSt.Mary’s Rectory’”Myfatherraisedtheendtable intotheair.“Youthrewitaway.Itwent tw'Oblocksdownthestreet.Nowit’s back!”
Thepriestmadethesignofthecross intheairovermyfather.Blessedhim. Foramomentmyfatherstopped.The priestclosedtheglassdoorandmy fathersaw'himselfreflected.Standing therelookingathimself.Thenhethrew theendtableintoashoppingcartand pusheditupthestreetfollowedbythe tw'Oyoungwomenwhodancedafter him.Oneranafewsteps/theother skipped/onestumbled/theother steppedoffthecurb,/onepirouetted/ andtireotherliftedheranustoheaven. Finallytheycaughtupwithmyfather andhungontohim,goingthroughhis pockets.
He had seen me of course, but wouldn’tacknowledgeme.He’sdone thisallmylife.Heexpectedmetofol¬ lowhimsilently.IIewentfromonepile tothenextpickingoutpieces.“This one,”hesaidasheliftedupalampwith acrackedcrystalbase,“Peoplewill rememberthis.”
Hestoppedanoldwomanpassingby. Pointedtoafootstoolinhisshopping cart.“Thatottoman,”hesaid,“have youseenitbefore?”Shepretendedshe w'asdeaf.
Theyoungwomenw'eresuddenly boredwithmyfatherandranoff.I couldtellhewasgoingtobeatthisfor aw'hilesoIheadedhome.Youhaveto understandIgrew'upwiththisbehav¬ ior.1knowbetterthantotrytotalksense
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■ FICTION ■ tohimwhenheisinthemiddleofone ofhisprojects.
tfiveinthemorningIheard myfathersighingandgroan¬ ing.ForasecondIthoughtI wasakidagainandhewasin theroomacrossthehall.But nowmyfatherwasoutsidesittingina bustedlawnchairnexttothepileof junkonthesidewalkbelowmybed¬ roomwindow.Ibroughthimouta cupofcoffee.
“Sonyaleft?"Heaskedand1nodded. “Shedidn’tunderstandtheimpor¬ tance,”hesaid,“seetheypassthisstuff frompersontoperson,housetohouse, fromoneneighborhoodtotheother. Thetruckstakeloadsawayandthe peoplefindmoretoputonth< sidewalk. rHientheygopicking throughtheirneighbor’spileX andtakestuffhome.Thisis ffculturalexchange.Thisis If art.Thiseventunitesthe gp city.I’mwritingabook... ff Did Sonya say why she Ip left?” J' Arustypickuptruckg* groaneduptothecurband askinnyguyjumpedout.
He stopped in front of us x andsaid,“T’hatyours?You wantthat?”Hepointedatmjlity father.“Shametoleavethatto thebumpile.”
Myfatherwastired,Isuppose.Upall* nightwalkingthecityandtalkingand losingSonyaandsoon.Hesatstillfor alongmomentandthenreachedup forme.Hisheadfellagainstmychest as1helpedhimup.
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“He’smine.”Isaidandheldon. “He’smyfather.”Tireguyignoredus andthrewthelawnchairintothe truck.1walkedmyfatherupthestairs tomyapartment.Imadehimpan¬ cakeswithbaconandheateanddrank coffeeatmykitchentableallmorning, hardlytalkingatall.Laterhewent backtoSt.Mary’sRectorytoseethe priestandthingschanged.Evenfor thetwogirlswhofollowedhimaround thatnight.Hewouldn’tletthemstay outonthesidewalk.Butthat’shisstory to tell. JV
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