Woodstock Collects

Woodstock Byrdcliffe Guild

Woodstock Artists Association & Museum

Historical Society of Woodstock

Woodstock School of Art

Center for Photography at Woodstock

Woodstock Collects

Woodstock Collects Woodstock Byrdcliffe Guild

Woodstock Artists Association & Museum

Historical Society of Woodstock

Woodstock School of Art

Center for Photography at Woodstock

Contents

The organizers of Woodstock Collects gratefully acknowledge the generosity of all lenders to this exhibition.They inspired us, generously received us in their homes, and gave us temporary custody of their treasures so Woodstockers and all others could share in the beauty and importance of their artworks.

Similarly, we thank all supporters of this major artistic collaboration, who understood its importance and helped raise funds to realize it.

Finally, immense thanks to the Boards, Directors, Curators and Staff of the five participating institutions, who made it all happen.

Catalog design: Abigail Sturges

Front cover: Top

Bottom

WBG Austin Mecklem 1890-1951 White House in Orchard, n.d.

Oil on canvas, 11¼ x 13½ in.

Collection of Sarah Greer Mecklem

HSW Pamela Vinton Ravenel 1883–1955 The Irvington Inn, c.1945 (detail) Watercolor, 12 x 18 in.

Collection of Kathy Longyear

WAAM Ethel Magafan 1916–1993 Mountain Waters, 1970 Tempera on masonite, 25½ x 43½ in.

Collection of Jenne M. Currie

WSA Yasuo Kuniyoshi 1889-1953 Before the Act, 1932 (detail) Lithograph, 13 x 9¾ in.

Collection of Stephen and Charlotte Diamond CPW Manuel Komroff 1890–1974 Untitled, n.d. (detail) Silver gelatin print, 10 x 7¾ in.

Collection of Jean Young

Woodstock Byrdcliffe Guild September 14-October 13, 2019 Jeremy Adams, Executive Director Woodstock Artists Association & Museum An Artistic Legacy 1+1+1 August 10-December 29, 2019 Janice La Motta, Executive Director and Curator of the Permanent Collection Historical Society of Woodstock September 14-October 27, 2019 Deborah Heppner, Executive Director Woodstock School of Art September 14–October 12, 2019 Nina Doyle, Executive Director Center for Photography at Woodstock September 14-October 20, 2019 Hannah Frieser, Executive Director

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Alive and Well in Woodstock Essay by Susana Torruella Leval

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Woodstock Byrdcliffe Guild Introduction by Susana Torruella Leval Curators’ Statement by Tina Bromberg, Abigail Sturges, and Sylvia Leonard Wolf Portfolio

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Woodstock Artists Association & Museum Introduction by Susana Torruella Leval Curator’s Statement by Janice La Motta Portfolio

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Historical Society of Woodstock Introduction by Susana Torruella Leval Curator’s Statement by Deborah Heppner Portfolio

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Woodstock School of Art Introduction by Susana Torruella Leval Curator’s Statement by Jenne M. Currie Portfolio

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Center for Photography at Woodstock Introduction by Susana Torruella Leval Curator’s Statement by Hannah Frieser Portfolio

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Afterword Susana Torruella Leval

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Checklist

Alive and Well in Woodstock Susana Torruella Leval Art Historian

The Byrdcliffe Theater

Tom Wolf, Woodstock’s leading art historian, wrote in 1987 that: For a town of its size,Woodstock has few if any rivals for artistic energy. The tradition of artistic activity inaugurated in 1902 continues in forms and fashions that would have amazed the original founders of Byrdcliffe but that bear out the enduring value of their ideals.

— Tom Wolf

Woodstock’s Art Heritage

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hree decades later, his observation remains true.

This multi-venue exhibition, Woodstock Collects, reveals the persistent vitality that gave rise to the Woodstock Art Colony, attracting a constant flow of artists, musicians, writers, tourists and visitors since 1902. Woodstock Collects is a first-time collaboration between five nonprofit arts organizations:2 the Woodstock Byrdcliffe Guild (the Guild), the Woodstock Artists Association & Museum (WAAM), the Historical Society of Woodstock, the Woodstock School of Art, and the Center for Photography at Woodstock (CPW).

The exhibition was conceived by two Guild board members, Abigail Sturges and Sylvia Leonard Wolf, with the organizing committee including the executive directors and presidents of all five organizations.Abigail Sturges, book designer, a Woodstocker, and project leader, describes its goal:

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To delve into the rich collections of painting, drawings, sculpture, photographs, and some crafts in private homes in Woodstock. These works have rarely been seen in public spaces. Our purpose is also to demonstrate to Woodstock the power of a five-organization collaboration, and to reveal the importance of Woodstock art collections to a wider audience.3

Sylvia Leonard Wolf, an art appraiser and curator, further notes that each venue: features works that are particularly germane to its history, and reflect the artists’ lives—their feelings, their interests, their families, their friends, their community, their beautiful rural surroundings. Woodstock Collects provides a rare opportunity to gain a broader understanding of the many interconnections of the large number of artists’ families who continue to make Woodstock their home.4

Woodstock Collects offers an ideal opportunity to explore each organization’s history and understand their mutual sustainability. Each of the five parts of the exhibition has a different curatorial approach and personality. Each venue shows works that illuminate its particular past. At the same time, all five point to a common future as part of the town’s artistic alliance— confirming that creative energy and activity are alive and well in Woodstock.

Trained as an art historian, I have not written as one for this essay. I usually write about works of art, but here I write about art organizations. As a longtime weekend resident of Woodstock, I have marveled that a town of 6,000 can sustain so many nonprofit art groups of different sizes, histories, and characters.With this essay I pay homage to five of these local institutions,5 each part of the fragile economy of nonprofits in a capitalist society. My hope is that revealing the interconnectedness of these five organizations may shed light on the long history, organic development, and special nature of Woodstock as one of the most durable artist colonies of the United States.

Notes 1 Tom Wolf, Woodstock’s Art Heritage: The Permanent Collection of the Woodstock Artists Association (Woodstock: The Overlook Press,1987), 29.

2 Another precedent for a multi-venue exhibition between local organizations was Music in the Woods: One Hundred Years of Maverick Concerts, a collaboration between Maverick Concerts, WAAM, and the Woodstock Byrdcliffe Guild, which I organized in July-September, 2015.

3 Abigail Sturges, phone interview, June 20, 2019.

4 Sylvia Leonard Wolf, email communication, June 20, 2019.

5 The Woodstock Library, Woodstock Film Festival, Woodstock Playhouse, Bearsville Theater, and the Creative Music Studio are among many other worthy nonprofits that I do not write about here, as they are outside the scope of this exhibition project.

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Woodstock Byrdcliffe Guild Established 1902 Unknown photographer Ralph Radcliffe Whitehead, Collection of the Woodstock Byrdcliffe Guild

Susana Torruella Leval

Eva Watson-Schutze, 1867-1935 Bolton Brown with his daughter Eleanor, c. 1905 Plantinum print Collection of the Woodstock Byrdcliffe Guild, Alf Evers Collection Gift of Douglas C. James Unknown photographer Hervey White, ca. 1915 Silver print Collection of the Woodstock Byrdcliffe Guild

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he Byrdcliffe Art Colony was founded by three very different individuals—an aristocratic British philanthropist, an eccentric writer, and an artistmountaineer. They agreed on one goal: to create a “Brotherhood”1 of artistic collaboration for excellence in the arts and crafts. Ralph Radcliffe Whitehead was the British aristocrat, an intellectual and philanthropist.

His reformist ideals were ignited by the lectures of John Ruskin at Oxford University. His friendship with teacher, mentor, and inspirational spirit of the English Arts and Crafts movement,William Morris, further influenced Whitehead’s intense passions: love of beauty, art, and manual labor, and hatred of industrialization and its enslavement of the working classes. Hervey White, in contrast, was a scruffy, freethinking, magnetic writer and poet from Kansas, who had made his way east to Harvard College by stealing rides in railroad boxcars.

Whitehead and White met around 1900 in Chicago at Hull House, an early feminist settlement house which advocated social reforms to benefit the working classes. Although from opposite social poles, they bonded immediately and discovered a shared utopian ideal of fostering creativity in a healthful, beautiful place. They joined forces in California with the likeminded Bolton Brown, an artist and mountaineer. The three men set out searching for the ideal site for an art 6 W BG

colony.Whitehead and White explored North Carolina while Brown hiked New York’s Catskill Mountains. In 1902, the three utopians met together atop Woodstock’s Mount Guardian and recognized they had found the “heaven on earth” they had dreamed of.2 For too short a time, from 1903 to 1906, the utopian Byrdcliffe Colony they created had it all. It was a haven for art and social reform on a gloriously picturesque site with clean air and pure water; the campus had over thirty buildings with beautifully appointed studios and classrooms for furniture-making, weaving, pottery, photography, and painting, as well as highly talented instructors. Although Woodstock historian Alf Evers later sardonically described Byrdcliffe as a “happy, make-believe Old England,”3 Whitehead had vowed: “We must live in the future, not in the past. . . not in the sentimental longing for the simple happy times which we imagine to have been when the world was young, but in the confidence that the golden age lies ahead of us.”4 But Whitehead’s autocratic manner and internal dissensions stemming from what Evers called “a society that persisted in remaining competitive rather than cooperative”5 opened rifts among the founders. Each continued separately to contribute in essential ways to the early history of the Woodstock Art Colony. Hervey White split from Byrdcliffe to found the Maverick

Colony, while Bolton Brown became a major contributor to the establishment of lithography as a fine art medium.

The exhibition Woodstock Byrdcliffe Guild’s Legacy of the Arts: Friends, Families, Lovers, honors Whitehead’s confidence in the future. Curated by Tina Bromberg, Abigail Sturges, and Sylvia Leonard Wolf, it celebrates artists and cultural leaders from every stage of the Guild’s remarkable history. These stages include: Whitehead’s Arts and Crafts utopia on the heights of Byrdcliffe; the formation of the Woodstock Guild of Craftsmen in 1939, which respected Whitehead’s ideals while adapting them to the “needs and aspirations of a new time and of the community of which it forms so vital a part;”6 the merger between the Guild and the Byrdcliffe Art Colony in 1976; and in 1996, the addition of a contemporary multi-use arts space, the Kleinert/ James Center for the Arts. The Kleinert/James brings creative contemporary programming to Woodstock, casting a wide, deep net into its vital community of painters, sculptors, potters, installation artists, photographers, performance artists, musicians, and videographers. Its contemporary exhibition programming— which has included a survey of living ceramic artists, a show featuring highly magnified photographs of fishing flies, and solo shows by major artists such as Nina

Katchadourian and Martin Puryear—also includes piano recitals, folk and jazz performances, even fashion shows.7 Most recently, the Guild has sponsored socialminded programs such as residency fellowships for artists of color and artists displaced by natural disaster.

For the Guild’s Friends, Families, Lovers, the three curators have gathered a bounty of artworks from private Woodstock collections. As per the collaboration’s original goal, the whole reveals the rich interconnections between artists, individuals, and arts organizations in Woodstock.

Notes 1 Despite this typical idiom of the era, the Byrdcliffe Art Colony, from its inception, was ahead of its time in admitting women at all levels of participation.

2 Karal Ann Marling,“Introduction,” in Woodstock: An American Art Colony, 1902–77 (Poughkeepsie: Vassar College Art Gallery,1977), n.p.

3 Alf Evers as quoted in Michael Perkins, The Woodstock Guild and Its Byrdcliffe Arts Colony: A Brief Guide (Woodstock: The Woodstock Guild, 1991), 29.

4 Ralph Whitehead as quoted in ibid., 11-12.

5 Alf Evers,“Foreword,” in ibid., 13.

6 Ibid.

7 Funded largely by philanthropist Doug James, who is also responsible for building the Woodstock Byrdcliffe Guild’s permanent collection, and has helped multiple organizations in town.

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Woodstock Byrdcliffe Guild’s Legacy of the Arts Friends, Families, Lovers Tina Bromberg, Abigail Sturges, and Sylvia Leonard Wolf Exhibition curators

White Pines, 1908 Photogtaph by Jessie Tarbox Beals The Villetta, 2018. Photographer unknown

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n 1902, Ralph Whitehead, his wife Jane Byrd McCall, Bolton Brown, and Hervey White shared a dream of forming an idyllic arts colony that would educate young students; provide a haven for artists, writers, musicians, and craftspeople; and establish a healthful, simple life for their families in the beautiful surroundings of the Catskill Mountains. Underlying this was a mission to produce handmade objects that, when sold, would finance the colony. Although a few years into its conception the Byrdcliffe Art Colony failed as a commercial venture, it was the genesis for Woodstock’s identity as an art community.

Over the next hundred-plus years, Byrdcliffe’s vision would grow and change and numerous artists would visit or move to the community. The germ of the original idea remains and today Byrdcliffe is still an active arts colony in a beautiful natural setting, fulfilling some of the dreams of the four founders in offering an inspiring combination of artists’ residencies and educational, exhibition, and performance programs that encourage creative collaboration among artists, students, arts professionals, and the public.

Beyond Byrdcliffe, Woodstock itself has a special framework as an art colony. Even our Artists Cemetery, where many generations of Woodstock artists are buried—including Byrdcliffe’s founder Ralph White8 W BG

head, poet/novelist Hervey White, and painter/lithographer Bolton Brown—is a testament to art. And throughout its history,Woodstock has been made up of different art circles over many different periods of time. In any one era, there were many different social connections of working artists. The core of what makes Woodstock exceptional is that everyone had art in his or her home.

For some, it was because it was an artist’s home, very often an artist couple. Or the result of an artist trading work with another artist. Or an artist selling work in need of money. Or art was traded in exchange for services rendered by the plumber or the dentist. In some homes, the art has been inherited. Newcomers to the community have also embraced Woodstock art as collectors. As part of Woodstock Collects, the exhibition at the Woodstock Byrdcliffe Guild, Friends, Families, Lovers, offers a privileged glimpse into the homes of passionate collectors who happily live with art. It is a rare chance to view fine, never-before-seen examples of art by artists whose reputations extend far beyond our local township and into the art world at large.

Along with the other four participating arts organizations, the Woodstock Byrdcliffe Guild is deeply grateful to the participating private collectors for allowing us to surprise our viewing audience with an exciting exhibition of unique hidden treasures.

White Pines, 2019 Photographer unknown

The exhibition Woodstock Byrdcliffe Guild’s Legacy of the Arts: Friends, Families, Lovers studies relationships: those of artists among artists, artists and their families, artists and collectors. But rather than list all the artists in our presentation, we would like visitors to regard it as we did—as a treasure hunt, with the works themselves, and their connections to their present owners, being the prized finds.

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Bolton Brown 1864-1936 The Crooked Tree, n.d.

Lithograph, 10½ x 10½ in.

Collection of Natalie Chapman and Galen Kirkland

John F. Carlson 1875-1947 Untitled (Red Barn with Chickens), 1917 Oil on canvas, 5½ x 6¾ in.

Collection of Dinah Carlson

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Florence Ballin Cramer 1884-1962 Excelsior Hotel, n.d.

Oil on canvas, 23¾ x 17½ in.

Collection of the Cramer Estate

Konrad Cramer 1888-1963 White House with Red Barn, n.d.

Ink wash on paper, 13 x 15 in.

Collection of the Cramer Estate

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Austin Mecklem 1890-1951 White House in Orchard, n.d.

Oil on canvas, 11¼ x 13½ in.

Collection of Sarah Greer Mecklem

Lovell Birge Harrison 1854-1929 Untitled (View of the Stream), c. 1904 Pastel and graphite over woodblock print, 10¾ x 15½ in.

Collection of Douglas C. James

12 W BG

Carl Eric Lindin 1869-1942 Bearsville, c. 1920 Oil on canvas, 24 x 52 in.

Collection of Sylvia Leonard Wolf

Henry Lee McFee 1886-1953 Untitled (Still Life with Pink Drape), c. 1925 Oil on canvas, 25½ x 32½ in.

Collection of Sam and Barrie Freed

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14 W BG

Charles Rosen 1878-1950 Brickyard, 1931 Oil on canvas, 30 x 24 in.

Collection of Arthur A. Anderson

Anita M. Smith 1893-1968 Church in Willow, n.d.

Oil on canvas, 26¾ x 28¾ in.

Collection of Sam and Barrie Freed

Eugene Speicher 1883-1962 Untitled, n.d.

Oil on canvas, 15½ x 19½ in.

Collection of Tatiana and Anthony Robinson

Jane Byrd McCall Whitehead 1861-1955 Landscape, c. 1890s Oil on canvas, 9 x 13 in.

Collection of the Woodstock Byrdcliffe Guild, Gift of Douglas C. James

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Woodstock Artists Association & Museum Established 1919

Susana Torruella Leval Postcard showing cars in front of the WAA, 1922 Photographer unknown Woodstock Artists Association Archives WAA exterior, 2019 Photography by Jeffrey Milstein Woodstock Artists Association Archives

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he social and creative cohesiveness of the Woodstock colony, its nascent awareness of itself as a special, self-defined community, found concrete expression in the Woodstock Art Gallery, a Georgian Revival structure which opened with great ceremony in 1921 near Woodstock’s Village Green.”1 The gallery was created according to plans laid by the Woodstock Art Association (WAA), founded in 1919 by artists John F. Carlson, Frank Swift Chase, Andrew Dasburg, Carl Eric Lindin, and Henry Lee McFee. The WAA had immediate importance to the village. According to historian Richard Le Gallienne, “a long cherished dream of Woodstock artists had been a gallery where they could exhibit their work, first for their own benefit as artists, in that they would thus be able to see what their confrères were doing and compare notes, and next that their various achievements might be on record for the public at large.”2 One hundred years later, renamed the Woodstock Artists Association & Museum (WAAM), the organization remains at the center of the Woodstock artistic community.

The founding constitution of the Woodstock Art Association established WAAM’s continuing aesthetic and operating philosophy: The Art Colony of Woodstock, being unique and fortunate among art colonies in representing a great 16 WAAM

diversity of aesthetic opinion and variety of artistic expression, including painting, sculpture, the crafts and applied arts, has formed an Art Association for the purpose of bringing together in an annual exhibition all these arts. It is the purpose of the Association in these exhibitions to give free and equal expression to the “Conservative” and “Radical” elements, because it believes a strong difference of opinion is a sign of health and an omen of long life for the colony.3

Artistic diversity at the WAA started with the founders who, notes Le Gallienne, personified the parable of “the lion and the lamb living happily side by side.”4 It can be said that the whole history of French art from the 1880s to World War I is echoed in the trajectory from the traditional, symbolist-inflected Tonalist landscapes of Lindin and Carlson; to the Impressionist landscapes of Frank Swift Chase; to the more progressive, Cézanne-modulated Cubist compositions of Dasburg and McFee. Their works hint at the tension and conflict that raged for half a century in the Woodstock area and across the United States—between realist and abstract, figurative and nonrepresentational styles of painting.

Some of the artists who joined the WAA had been originally associated with the stern culture of Byrdcliffe, and continued to explore the European-oriented

styles that predominated at Whitehead’s utopia. But the majority of artists who came to the WAA had already internalized diversity of style and freedom of expression from two other sources: the neighboring Maverick Colony in West Hurley, and the school of the Art Students League, which operated in Woodstock during the summers of 1906–22 and 1947–79.

The Maverick Colony was founded in 1905 on 120 wooded acres in West Hurley, at the southwestern edge of Woodstock, by Hervey White after his separation from Byrdcliffe. An original Aquarian,White was a poet, writer, publisher, utopian dreamer, ethical idealist, and canny impresario.White was the core of his utopia. But in stark contrast to the Englishman Whitehead, White was profoundly American, his lifestyle freewheeling, openhanded, and anti-authoritarian. His generosity to artists (musicians, painters, sculptors, writers, actors) was boundless. He welcomed penniless artists to cobble together ramshackle houses on the Maverick, and charged them rent of one hundred dollars a year,“if you’ve got it”5 Tom Wolf believes that “In the long run,White’s brand of idealism—democratic and bohemian—had a greater impact on the character of Woodstock than did the more aristocratic version practiced by Byrdcliffe.”6 The roster of early members of the WAA, many involved with the Maverick and the Art Students

League, reads like a Who’s Who of influential artists of the time: George Bellows, Arnold Blanch, Konrad Cramer, Robert Henri, Rockwell Kent, Leon Kroll, Eugene Speicher, Zulma Steele, Eva Watson-Schütze, and on. By 1938, the WAA was dubbed the “local Louvre”7 by Life Magazine. Into the 1940s, major New York art critics such as Robert Coates, Howard Devree, Thomas Hess, William Alden Jewell, and Henry McBride regularly followed and reviewed WAA artists’ shows in New York City in ARTnews, the New York Times, and the New Yorker. Some even made the then four-hour trip to the village to see WAA shows. Woodstock was mentioned in the New York Times as “a place of pilgrimage in the art world.”8 During that period, writes art historian Karal Ann Marling,“Woodstock’s star was visible over the skyline of New York.”9 In today’s age of global art fairs and international biennials, of art sales that fetch hundreds of millions of dollars, it’s hard to appreciate Woodstock’s prominence in the New York art world of the 1920s, 30s, and through the early 40s.

An all-important development at the WAA during the 1970s was its initiative to form a permanent collection of work by deceased Woodstock artists from 1900 on. Three remarkable women combined the vision, energy, and social skills needed to amass a sig17

Edward Millman, Sidney Laufman, Herman Cherry, Doris Lee, Fletcher Martin, Karl Fortess and Arnold Blanch planning one of the Woodstock Art Conferences, c. 1948. Photograph by Milton H. Wagenfohr. Woodstock Artists Association Archives High school students visit WAAM. Photograph by Jennifer Wentland

nificant collection in a very short time: Aileen Cramer (puppeteer, actress, Town Board member, social activist, and WAA Chairwoman for Development of Collection; Lillian Fortess (educator, art historian, and WAA Acquisitions Chairwoman), and Betty Sturges (painter, nonstop volunteer, and first Curator of the WAA Collection). The first work accessioned was Big Green Landscape by Arnold Blanch, given to the WAA in 1973 by his longtime companion, painter Doris Lee. By 1990, the formidable trio had amassed 600 works of art. Betty Sturges recalled:“There wasn’t a morning we didn’t talk…. We’d go around and call on people and say we wanted a painting.”10 Aileen Cramer described their ringleader, Lillian Fortess, as “a perfectionist, and tough. If she wanted something done, she’d get it done. We got paintings by Milton Avery and Bradley Walker Tomlin because of Lillian.”11 Fortess was also the force behind the publication in 1987 of the first catalogue of the WAA’s permanent collection12 by then housed in special storage vaults. The Phoebe and Belmont Towbin Wing opened in 1992 to present exhibitions highlighting the collection, which today numbers over 2200 works in all media, mostly donated by artists, their families, and local collectors.

Today, WAAM is a member of the Hudson Valley Visual Arts Collections Consortium (HVVACC), which has cre18 WAAM

ated a collaborative online collections database, making art of the region accessible to scholars, students, and the general public.

WAAM entered the twenty-first century with the complex challenge of balancing the needs of a small organization with a museum-quality collection and a membership whose birthright includes “strong difference of opinion.” Both are alive and well at an organization whose “unbiased eclecticism”13 continues to present exhibitions and relevant contemporary programs such as Radius 50 and Habitat for Artists.

Inaugurated in 2017, Radius 50 is an ambitious exhibition of works selected by notable curators from artists of the Mid-Hudson and Catskills region. It provides an overview of how contemporary artists within a fifty-mile range are contributing to the unfolding narrative of art in our time. Habitat for Artists, founded by Simon Draper, is a national program which creates small pop-up artist studios in unexpected sites, demystifying artists and their work by enabling informal dialogues between artists and their local communities. The WAAM education program engages 750 students yearly, and, in partnership with a large regional network of schools, libraries, and local organizations, is creating the next generation of artists and museum-goers.

WAAM’s contribution to the exhibition Woodstock Collects, titled An Artistic Legacy: 1+1+1 and curated by executive director Janice La Motta, presents threetiered groupings based on a work of a historic Woodstock artist from the WAAM collection, the work of one of that artist’s descendants, and the work of a contemporary artist selected by the descendant.

Notes 1 Karal Ann Marling,“Introduction,” in Woodstock: An American Art Colony, 1902–77 (Poughkeepsie: Vassar College Art Gallery,1977), n.p.

2 Richard Le Gallienne, Woodstock, an Essay (Woodstock: Woodstock Art Association, 1923), 16-17.

3 Preamble to Constitution, 1922. WAA Archives.

4 Le Gallienne, 19.

5 Eugene Ludins,Woodstock artist (1904–1996) resident of the Maverick and of Woodstock; married to sculptor Hannah Small. This quote is from Ludins’s filmed recollections in Cambiz Khosravi’s 1987 documentary about the Maverick Colony, Woodstock: From Plough to Easel.

6 Tom Wolf, Woodstock’s Art Heritage: The Permanent Collection of the Woodstock Artists Association (Woodstock: The Overlook Press,1987),19. The list of artists who settled in the Maverick throughout the 1920s includes Harry Gottlieb; Arnold and Lucile Blanch; Eugenie Gershoy; Carl and Helen Walters; Austin Mecklem and Hannah Small; John Flannagan; Wendell and Jane Jones; Eugene Ludins, and Grant Arnold.

With the early members of the WAA, for nearly two decades they brought fame and maturity to Woodstock as an art colony.

7 “Woodstock: Catskill Colony Has Nurtured Some Great Names,” Life Magazine (August 22, 1938): 24. The article shows a photo of the gallery’s facade, calling it the “local ‘Louvre’” and commenting on the passionate art controversies that characterized the annual summer exhibits.

8 https://www.woodstockart.org/about/history/ 9 Marling, n.p.

10 “A Strong and Bright Spirit: Lillian Fortess Dies at 86,” Woodstock Times (March 1, 1990): 8. For a thorough examination of the building of the WAA’s permanent collection, see Bruce Weber,“Making It Permanent: Community, Family, Friendship, and the Building of the Collection of the Woodstock Artists Association,” in Woodstock Artists Association: One Hundred Years of Community and Art (Woodstock:Woodstock Artists Association, forthcoming 2019).

11 Ibid.

12 I was proudly involved with this WAA publication as a catalogue entry writer at the invitation of Tom Wolf.

13 Le Gallienne,19.

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An Artistic Legacy: 1+1+1 Janice La Motta Exhibition curator Executive Director and Curator of the Permanent Collection, Woodstock Artists Association & Museum Edward Chavez in sculpture demonstration in Woodstock Artists Association gallery, c. 1965. Photograph by Adrian Siegel. Woodstock Artists Association Archives Habitat for Artists resident Roberta Ziemba doing a community project, 2016.

Photograph by Beth Humphrey

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he WAAM celebrates its centenary year in 2019 and, as the banners on the front of our building announce, we reflect proudly upon one hundred years of creativity, history, community, and art. In the spirit of our centennial year we have planned an exhibition that honors the artists of the past, present, and future. An Artistic Legacy: 1+1+1 presents groupings based on the work of a historic Woodstock artist, the work of one of their descendants, and the work of a contemporary artist selected by the descendant.

The Woodstock Artists Association was founded in 1919 by five artists with a commitment to provide gallery space to present the work of the many artists who had migrated to Woodstock to live, work, teach, and study. The Woodstock Artists Association’s commitment to serve artists and to provide a platform for the exhibition of their work has endured; and the art colony of Woodstock has fostered generations of working artists and an esprit de corps among the many artists who chose to make the region, and specifically Woodstock, their home.

A culture of creativity and an intimate sense of community have always been pervasive in Woodstock. Children were born into families of artists and shared a life among artists. It is no wonder that exposure to such a community resulted in many descendants themselves 20 WAAM

pursuing a life in the creative arts. An Artistic Legacy: 1+1+1 presents the work of eight artists and artist couples who lived and worked in the Woodstock environs along with descendants for whom an artistic life was a natural extension and pursuit. The exhibition, using a three-tiered presentation of artworks, also celebrates the continuity of community and art-making.

Among the artists represented in the exhibition are artist couples that include Manuel and Jane Dow Bromberg, Austin Mecklem and Marianne Appel, Milton and Sally Michel Avery, Wendell and Jane Jones, Robert Angeloch and Nancy Summers, and Bruce Currie and Ethel Magafan. Each of these couples had children who became artists. In addition to honoring the artistic lineage of the community, this exhibition serves to create a dialogue, and to consider connections, among the selections. In several instances visitors will note the commonality and continuity of artistic traits, whether stylistic or thematic, as in the abstracted treatment of the natural world in the selections representing the Bromberg lineage or in the commitment to realism represented by the selections from the Jones family.

Perhaps the most striking suggestion of artistic heritage can be seen in the selections representing the Avery family. The dominant assertion of color and form are represented in all four paintings in the exhibition,

with a striking visual connection between Milton Avery’s Dark Birds, Dark Sea of 1959 and his grandson Sean Cavanaugh’s painting, Southern Structure, dated 2018. The same blues and blacks appear in each painting along with a shared simplification of forms, though each applied these toward a different resolution. The thirty works that comprise the exhibition distill earlier sensibilities that influenced the work of the descendants, giving way, in turn, to an examination of their aesthetics as represented by their +1 choice.

WAAM’s commitment to the history and legacy of the artists of the Woodstock Art Colony is most notably represented through its landmark Permanent Collection. The collection of over 2,000 objects including paintings, works on paper, sculpture, photography, and decorative arts chronicles the work of over 420 artists from the turn of the twentieth century to the present day. Some of the selections in the exhibition are drawn from the Permanent Collection—all gifted works from private collections. All of the historic artists in this exhibition are represented in the Permanent Collection.

WAAM’s exhibition schedule provides a platform for contemporary artists working in the region today.

Through a varied annual exhibition schedule and premier exhibitions that survey the contemporary art of

the region, WAAM continues to embrace the present and future of art-making in the region while honoring the rich history of its past. An Artistic Legacy: 1+1+1 offers the viewer an introduction to the work of some of the prominent artists working in Woodstock from the early 1940s and into the later twentieth century while commemorating the continuation of that artistic spirit in the output of contemporary artists working today.

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Manuel Bromberg b. 1917 View from California Quarry, 2001 Acrylic on canvas, 58 x 36 in.

Collection of the artist

22 WAAM

Jane Dow Bromberg 1913–2008 Garden of the Gods, 1940 Lithograph, 12 x 15 in.

Collection of Manuel Bromberg

Tina Bromberg b. 1949 Pond III, 2003 Acrylic on canvas, 12 x 12 in.

Collection of Barbara and Sam Jeffries

Jeanne Englert b.1954 Passage, 2007 Charcoal on paper, 31 x 1938⁄ in.

Collection of the artist

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Sarah Greer Mecklem b.1946 Barking, from Animal Stories series, 1994 Oil and wax on oval canvas and wood, 18 x 25½ in.

Collection of the artist

Austin Mecklem 1890–1951 Winter, 1927 Oil on canvas, 16 x 20 in.

Collection of Merrill Mecklem Piera

Marianne Appel 1913–1988 Porcupines, c. 1963 Oil on board, 52 x 18 in.

Woodstock Artists Association & Museum Gift of Sarah Greer Mecklem and Merrill Mecklem Piera

24 WAAM

Arrow Kleeman b.1971 Internals, 2019 Oil on canvas stretched over wood panel, 24 x 24 in.

Collection of the artist

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Ethel Magafan 1916–1993 Mountain Waters, 1970 Tempera on masonite, 25½ x 43½ in.

Collection of Jenne M. Currie

Jenne M. Currie, b. 1956 Retsina and Fruit, 1998 Acrylic, copper and wood on masonite, 49 x 39 x 4 in.

Collection of the artist

Bruce Currie 1911–2011 Portrait of the Artist's Wife, 1960s Acrylic on watercolor board mounted on masonite, 39¾ x 37 in.

Woodstock Artists Association & Museum Gift of Jenne M. Currie

26 WAAM

Melanie Delgado b. 1977 Mountain Range of Misunderstanding, 2019 Oil on canvas, 36 x 36 in.

Collection of the artist

27

Wendell Jones 1899–1956 Landscape with Salamander, 1946 Oil on canvas, 20¼ x 45 in.

Woodstock Artists Association & Museum Gift of Jane Jones

Jane Jones 1907–2001 Johnnie, 1935 Oil on canvas, 20 x 16 in.

Estate of Jane Jones

Peter Jones b. 1941 Dog Tooth Burnisher, 2017 Oil on canvas, 12 x 24 in.

Collection of the artist

28 WAAM

Susan Stephenson b. 1968 Sunday at the Strand— Dixie Theater, 2006 Oil on panel, 16 x 24 in.

Collection of the artist

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Historical Society of Woodstock Established 1929

Susana Torruella Leval

Early Historical Society 1931

“T

hey say that the coming of the artists will change Woodstock,”1 young Will Rose speculates in his charming memoir of the village around 1900. And the artists did change Woodstock, forever.What is wondrous about Woodstock’s history is the relatively short time it took before the artists—feared for their godless, freethinking ways—integrated themselves into every aspect of the village’s life.

As neighbors, landholders, paying customers, teachers, volunteers, community organizers, and friends— artists were tolerated, then accepted, into the strict, religious, Dutch-settled community with astonishing equanimity, and quite swiftly. Richard Le Gallienne describes how farmers treated artists hospitably, giving “the freedom of their pastures and woodlands to painters with their umbrellas” and quotes a farmer named Levi Harder saying to John F. Carlson: “I never noticed that the sky was blue until you fellows came.”2 JoAnn Margolis, longtime Woodstocker and archivist at the Historical Society of Woodstock, describes the development of this affinity between artists and local residents thus:“Phase One was about exchange of services for mutual benefit, for example ‘you need a studio, I’ll rent you my barn.’ Phase Two shifted from the pecuniary to the personal: once interaction happened, commonality was established.”3 Richard Heppner, Woodstock Town Historian since 2001, a scholar and 30 HSW

observer of the layered interaction between the residents and artists who animate the village, has this interesting take: Woodstock is a small town, and yet our history is writ large with the contributions of those who would see life through a slightly different lens. It is also a history that has seen those views shaped by connections formed between the newly arrived and those who drew life and livelihoods from the very landscape that would find its way onto a multitude of canvases over the years. As a result it is a history that has transcended great change while remaining grounded in its original purpose; a history in which we understand we are not separate from our past but are an integral part of a combining experience that becomes our community.4

In 1929, seven artists, an artist’s widow, a scientist, and a professor founded the Historical Society of Woodstock: Marion Bullard, Florence Ballin Cramer, Konrad Cramer, Jenny Harrison, Carl Eric Lindin, Henry Lee McFee, Martin Schütze, Zulma Steele, Eva WatsonSchütze, and Bruno Zimm set about building a plan to preserve the stories of Woodstock. Tom Wolf considers the founding of the Society “an indication of the colony’s sense of maturity.”5 The founders recognized that the arrival of Ralph Whitehead, Hervey White, and their followers had brought major transformations

which should be recorded and preserved while the key agents of change were still alive.

In the Historical Society’s mission statement, under “Our Values,” one in particular stands out: community involvement.6 Anyone who visits the Society can bear witness to the passion and generosity that the volunteer-run organization inspires. Well-trained volunteers help archive, file, and research the archival collection at their headquarters, the Eames House on Woodstock’s Comeau property. As the Society’s programs have expanded dramatically over the past five years, volunteers also help install exhibitions, serve guests at events, organize fashion shows and model in the same, bake cakes, set up sound equipment—in short, much of what needs to be done is executed by volunteers.

Woodstock native, board chair, and guiding spirit Deborah Allen Heppner describes the Historical Society’s board over the years as a mix of local artists, old Woodstock family members, and a variety of “transplants” who love Woodstock and its history. She has organized Woodstock Collects: Heritage Through Art, an exhibition true to the Historical Society’s mission and the original goal of this multi-venue exhibition: to uncover treasures from private collections. Heppner asked former and current board members to submit works of special significance, personal or historical,

from their homes. Woodstock Collects: Heritage Through Art thus comes with a special context: written stories by the owners of how the artworks, by famous artists or not, came into their possession. A special section of the show presents works by the Historical Society’s artist founders, to whom the exhibition is dedicated.

Notes 1 Will Rose, The Vanishing Village (New York:The Citadel Press, 1963), 15.

2 Richard Le Gallienne, Woodstock, an Essay (Woodstock: Woodstock Art Association, 1923), 14-15.

3 Based on a phone interview with JoAnn Margolis, May 5, 2019.

4 Richard Heppner, “History’s Journey,” in Seldom Seen:Works from the Collection of the Historical Society of Woodstock, Selected by Susana Torruella Leval (Woodstock: Woodstock School of Art, 2014), 7. Like the previous town historian, Alf Evers, Heppner has great respect for the contribution of artists to Woodstock.

5 Tom Wolf, Woodstock’s Art Heritage: The Permanent Collection of the Woodstock Artists Association (Woodstock: The Overlook Press,1987), 26.

6 http://www.historicalsocietyofwoodstock.org/home/ mission

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Heritage Through Art Historical Society of Woodstock Deborah Heppner Exhibition Curator Board President, Historical Society of Woodstock

Summer Exhibition at the Historical Society, 2018

A

t the first meeting of the Historical Society of Woodstock on September 20, 1929, it was determined that the purpose of the newly formed group was to collect and preserve the stories of Woodstock’s diverse history.While the mission of the Historical Society has broadened over the last ninety years to include maintaining and expanding its archives and presenting exhibitions and programming on Woodstock history, the initial desire and intent to continue to “collect the stories” remains strong in every activity the Historical Society undertakes.

With this in mind, the Historical Society looked at how it could best collaborate with other community arts organizations through the Woodstock Collects project and remain true to the Society’s mission. The goal of this joint exhibition is to showcase the diverse and extraordinary works of Woodstock artists that exist not in the collections of the participating institutions, but in the homes of Woodstock residents.

Without knowing what would be found, Historical Society board members, both past and present, were asked to submit Woodstock artwork from their personal collections to be considered for this exhibition. They were asked to select works that had particular meaning to them and that came with a personal story of how or why the artwork became part of their collections.

32 HSW

The Historical Society board has always included a diverse mix of local artists, old Woodstock family members, and those “transplants” whose love of Woodstock includes an appreciation and interest in the many facets of Woodstock history. In looking at Woodstock history, especially the last one hundred-plus years, one can see the influence of the art colony everywhere.

Local art hangs in our restaurants, in our banks, in our town offices, in the homes of serious collectors and also in the homes of everyday people. Appreciation of art has become a Woodstock tradition.

The history of Woodstock as a community has been well recorded in images of its buildings, its landscape, and in the many portraits of Woodstock residents.

There are few topics about which the Historical Society cannot mount an exhibition using artwork and photographs as a means of telling a story about a specific aspect of Woodstock.

The Historical Society of Woodstock’s contribution to the Woodstock Collects exhibition, Heritage Through Art, includes art by both the famous and not so famous. The exhibition will include work acquired as gifts, as payment for work done, as prized purchases and as pieces of importance to a family’s history. The exhibition will celebrate the creativity of parents, grandparents, friends, and neighbors as well as the

admiration this community shares for the many great artists who are an important part of our past.

Kathy Longyear, former HSW board president, submitted a lithograph done in the late 1920s by Elizabeth Woiceske titled Our Village. In it is depicted the Woodstock Bus, owned and operated by her husband’s grandfather Stanley Longyear. This work represents a piece of the Longyear family history and is a treasured work in her art collection. I submitted a small oil painting by Allen Dean Cochran titled Summer Sunshine.

This luminous image of sun filtering through the trees was given as payment for room and board at my family’s boarding house. Passed down through several generations, the Cochran was the first piece in my own art collection. Board member Sue Reynolds submitted two pieces done by family members: one by her mother Catherine Murray Ostrander and one by her husband Mike Reynolds’s grandmother Genevieve Shultis, created at age fifteen. Both images have been lovingly cared for and hang alongside the work of more famous Woodstock artists in the Reynolds family home. Board member Letitia Smith volunteered to help work with a writer researching the lives of Wilna Hervey and Nan Mason. In the course of this project she came to admire the lives and work of these two women and purchased two enamel pieces: Abstract Guitar by Nan Mason and

Beach Scene by Wilna Hervey. In keeping with the original mission of our founders, each of these pieces, as well as the many others in this exhibition, will be accompanied by words from its collector, sharing their personal stories on the importance of the piece.

As the Historical Society celebrates its ninetieth anniversary in 2019, the exhibition will also include a sampling of work created by several of the Society’s founders. Their work, including Zulma Steele’s Overlook Mountain, Florence Ballin Cramer’s Knife and Fork Restaurant, and Carl Eric Lindin’s Old Farm will remind us of the tremendous appreciation and love of community these founders had for Woodstock. We dedicate this exhibition to them.

33

Willard E. Allen 1860–1933 Overlook Mountain, n.d.

Oil on canvas, 15 x 19 in.

Collection of Donald and Nancy Allen

Paul Arndt 1881–1971 Untitled, n.d.

Oil on canvas, 27 x 35 in.

Collection of Sue and Mike Reynolds

34 HSW

Josephine Barnard 1869–1955 Untitled, 1929 Oil on canvas, 24 x 30 in.

Collection of Jean White

Allen Dean Cochran 1888–1971 Summer Sunshine, n.d.

Oil on board, 8 x 10 in.

Collection of Deborah and Richard Heppner

35

Facing page Emile Gruppe 1896–1978 Untitled, n.d.

Oil on board, 12 x 16 in.

Collection of Deborah and Richard Heppner Ruth Heppner 1925–2006 Untitled, n.d.

Watercolor 15 x 22 in.

Collection of Deborah and Richard Heppner

E.O. Drogseth 1874–1948 Valhalla, 1943 Pen and ink, 9 x 13 in.

Collection of Karen Vos

Gurdon Howe 1903–1986 Twine’s Bookshop and Artist Supplies, 1968 Watercolor, 30 x 38 in.

Collection of Olivia Twine

36 HSW

37

Facing page Pamela Vinton Ravenel 1883–1955 The Irvington Inn, c.1945 Watercolor, 12 x 18 in.

Collection of Kathy Longyear Anita M. Smith 1893–1968 Washington Square, n.d.

Oil on board, 8 x 10 in.

Estate of Anita M. Smith, Weston Blelock and Julia Blelock

Wilna Hervey 1894–1979 Beach Scene, 1965 Enamel on copper, 8 x 10 in.

Collection of Letitia Smith

Sylva Hutchins 1925–2013 Elizabeth’s Garden, 1973 Pastel on sanded paper, 7 x 8 in.

Collection of Karyn Bevet

38 HSW

39

Woodstock School of Art Established 1968

Susana Torruella Leval

Art Students League Summer School, c. 1948 (2470 Route 212) Woodstock School of Art 2019 (2470 Route 212)

T

he Woodstock School of Art, Inc. is a renowned educational institution providing fine arts instruction by over forty professional artists to 850 students each year. Originally founded in 1968 by four artists: Robert Angeloch, Franklin Alexander, Lon Clark, and Wallace (Jerry) Jerominek, the School continues to expand its offerings in the beautiful studios situated on thirty-eight acres listed on the National Registry of Historic Places. The site previously housed the return of the summer school of the Art Students League from 1947 through 1979.

The bluestone campus has a proud history.The cornerstone was laid on the site in 1939, with Eleanor Roosevelt presiding, to be used as a training center of the National Youth Administration, part of President Franklin Delano Roosevelt’s New Deal. The program had selected Woodstock as a site for its crafts school because of its fame as “the center of arts and crafts for America.”1 At highest capacity the school housed 90 youths, ages 18–24, training them in then marketable skills such as blacksmithing, stone quarrying and carving, metal and woodwork, weaving, and wool processing.

Today, eighty years later, the Woodstock School of Art attracts 850 art students yearly, primarily from the Hudson Valley, still drawn to Woodstock’s landscape and to its fame as a longtime art colony. Also true to 40 WSA

Woodstock is the entirely artist-run nature of the WSA. Its founders were artists, and all current staff and officers are artists as well. The School’s website notes that “Each class is an artist’s atelier combining the instructor’s viewpoint with the free and open dialogue necessary for artistic creativity.”

The high values of individuality and free expression derive from the school’s deep roots and distinguished legacy relation to the Arts Students League in New York, one of the earliest and most important art schools in the country.WSA functioned as the home of Summer School of the Art Students League, from 1947-79. Earlier, in 1906, The Art Students League of New York had moved its summer classes from Old Lyme, Connecticut to Woodstock, and operated in buildings in town till 1922. The momentousness for Woodstock of this move by the League cannot be overestimated—Karal Ann Marling considers it ”the most important agent in the development of a new Woodstock colony and in the eclipse of Byrdcliffe.”2 Lovell Birge Harrison, a former Byrdcliffe teacher, promoted the move and grandly announced his leadership of the “Woodstock School of Landscape Painting” where, according to his perhaps inflated claim,“for the first time in the history of art, landscape painting is given the same serious attention which has from

time immemorial been accorded to the teaching of figurative painting.”3 The League’s School of Landscape at Woodstock, and its tradition of plein air painting, started with twenty-five students in 1906. By 1912, two hundred students were registered, and the school’s reputation drew hundreds of artists from New York City and the region.4 The WSA has continued the tradition of teaching plein air landscape painting, a sought-after offering.

The mid-1920s saw Woodstock’s coming of age as an art colony. An art magazine writer noted the presence in Woodstock of at least three art schools and “its very own art gallery”5—not to mention two string quartets, two theatres, four tearooms, and a weekly market fair. The theatres and string quartets were active at the two original hubs, the Byrdcliffe Colony up the mountain and the Maverick Colony in West Hurley,6 while the art gallery referenced was of course the Woodstock Artists Association.

In 1922, a year after the WAA’s first exhibition at 28 Tinker Street, the Art Students League left Woodstock, citing the high cost of maintaining a summer venue outside New York City. As a result, the artistic community further fragmented into factions and circles advocating differing aesthetic interests and styles.

Former professors and students from the League

founded several schools: the Woodstock School of Painting (Charles Rosen, Henry Lee McFee, and Andrew Dasburg); John F. Carlson’s School of Landscape Painting; and another led by Judson Smith, Henry Mattson, Konrad Cramer, and Yasuo Kuniyoshi.7 The Constitution of the WAA, also from 1922, had effectively set the terms of the debate between the progressives and the conservatives among Woodstock artists—a division further played out in their reactions to seeing the New York Armory Show of 1913, which introduced avant-garde European artists such as Picasso, Matisse, Duchamp, Gauguin,Van Gogh, and Cézanne to the U.S. and brought about a turning point in its art history.8 The artistic community of Woodstock suffered greatly during the years of the Depression, despite its active participation in the Federal Art Project of Roosevelt’s jobs-creating Works Progress Administration (WPA).9 The devastation of World War II further impacted Woodstock artists, many of whom served in the armed forces in Europe and in the Pacific.10 But in the late 1940s, a huge boost of energy hit the flagging artistic community, thanks to the catalytic actions of artist Arnold Blanch.

Blanch advocated ardently for the Art Students League to reinstate its summer school in Woodstock.

41

His exertions were successful and in 1947, the League reopened in the Woodstock School of Art’s present quarters. The new generation of artist instructors included members of Woodstock’s postwar artistic elite, and they ushered the town’s artistic community into modernity. Instructors in painting and drawing who experimented with progressive concepts of figuration and landscape included Franklin Alexander, Robert Angeloch, Lucile Blanch, Yasuo Kuniyoshi, Sidney Laufman, Fletcher Martin, John Pike, Frank J. Reilly, John W. Taylor; sculptor Paul Fiene also belongs to this group of forward-thinking figurative artists.

Artists Paul Burlin, Edward Chavez, Philip Guston, Sigmund Menkes, Edward Millman, William Pachner and Walter Plate were among those who converted to abstraction in different degrees, and a few adopted the stylistic vocabulary of Abstract Expressionism— about to explode, and transform, the New York art world forever.

The Art Students League closed its Woodstock doors for the last time in September of 1979. Robert Angeloch, a magnetic artist who had taught landscape painting at the League for fifteen summers, went into high gear and picked up the charge. He led a passionate group of artists, and local business leaders and politicians to secure a lease, incorporate the school as a nonprofit, and reopen at the same site in 1981 as the Woodstock School of Art, after only one inactive season.11 The philosophy of the Art Students League in New York was expressed by Stuart Klonis, its director for thirty-four years: The individuality of the artist is his most precious possession. He must be constantly on guard that this individuality be retained, that it is not popularized or cheapened. He must be true to himself according to his own standards. . . . His is the last free spirit left in our society. It is the responsibility of the League to protect and encourage this spirit.12 As heir to the League tradition, the Woodstock School of Art encourages individuality and freedom of expression, the school’s philosophy being to encourage each student to find his or her own way. There are no entrance requirements or set curricula. Kate McGloughlin, instructor of landscape painting and printmaking and an animating spirit of the Woodstock 42 WSA

School of Art, describes the continuity and contemporaneity of the school today: Having studied with Robert Angeloch, I’m in the direct lineage that dates back through Carlson to Birge Harrison, and it’s a heritage I take seriously.

Landscape painting has come in and out of fashion, but has always had a place in Woodstock’s history. . . .

When I teach, I’m careful to acknowledge these giants on whose shoulders I stand, and the impact they had on American art history. At the Woodstock School in general, one of the things I’m most proud of is being on that continuum; ensuring a place for serious art history to continue, and in fact flourish, in Woodstock, one of America’s oldest and most enduring artists’ colonies. 13 Painter and sculptor Jenne M. Currie, another instructor at the school and heir to one of Woodstock’s great artistic dynasties, has curated the exhibition The Art Students League in Woodstock 1947–79 for the Woodstock School of Art’s contribution to Woodstock Collects. In it we witness the energy and talent, as well as the tensions, of the new generation of artists who revitalized the school after World War II.

Notes 1 Polly Kline, The Art Students League in Woodstock: A Short History for the Woodstock School of Art (Woodstock: Woodstock School of Art, 1987), 4. Here the source of Woodstock’s reputation surely stemmed in great part from Byrdcliffe’s early, if brief, fame in metalwork and furniture making.

2 Karal Ann Marling,“Introduction,” in Woodstock: An American Art Colony, 1902-77 (Poughkeepsie: Vassar College Art Gallery,1977), n.p.

3 Lovell Birge Harrison, quoted in Wolf, 19.

4 A series of prominent artists led the Art Students League throughout its first period of residence in Woodstock (1906– 22): Lovell Birge Harrison (1906–11); John F. Carlson (1911– 17); Charles Rosen (1918–22); Andrew Dasburg (1919–20); Hayley Lever (1921). For factual information regarding this period, I have relied on Polly Kline’s excellent short pamphlet, The Art Students League in Woodstock: A Short History for the Woodstock School of Art. I thank Jenne M. Currie for bringing it to my attention.

5 Ibid., 1-2 6 Operating since 1916, Maverick Concerts is the oldest continuous summer chamber music series in the U.S. and a living heritage of the Woodstock colony’s earliest years.

7 Other artists who founded art schools of varying importance and viability during this period were painters Cecil Chichester, Walter Goltz, William Arlt, and Alexander Archipenko, Ukrainian sculptor of international fame, who founded a school in Bearsville, where he taught from c.1938–47.

8 All serious Woodstock artists would have visited the Armory Show and formed an opinion on the raging issue of abstraction versus figurative painting. An excellent discussion of this period is Josephine Bloodgood’s Embracing the New: Modernism’s Impact on Woodstock Artists (Woodstock: Woodstock Artists Association and Museum, 2013).

9 Eugene Ludins called the Federal Art Project “the biggest payroll in Woodstock, and one of the biggest WPA art projects in the country.” Quoted in Marguerite Culp,“Work Project Captures the Spirit of Woodstock in the Depression Era,” Woodstock Times (August 22, 1985).

10 Woodstock artists who served in the war include Robert Angeloch, Manuel Bromberg, Edward Chavez, Bruce Currie, Karl Fortess, Boyer Gonzales, Eugene Ludins, John McClellan, John Nichols, Tomas Penning, Walter Sarff, Reginald Wilson, and others.

11 I am grateful to artist and board member Paula Nelson’s keen memory in reconstructing this history. She was both a student at the Art Students League and involved with the Woodstock School of Art at its founding in 1968. She functioned as registrar to both schools and served in various offices at WSA, including as de facto director.

12 Stuart Klonis, The Metropolitan Museum of Art Presents the 75th Anniversary Exhibition of Painting and Sculpture by 75 Artists Associated with the Art Students League of New York (New York: Art Students League, 1951).

13 Kate McGloughlin, email communication, June 10, 2019.

Art Students League 1947 from HSW archives 1. Sophie Siegel 2. Philip Fitzpatrick 3. (obscured) 4. Sara Kuniyoshi 5. Howard Mandel 6. Bruce Currie 7. Herman Cherry 8. Arthur Zaidenburg 9. Virginia Dehn 10. Adolf Dehn 11. unknown 12. unknown 13. Richard Burlingame 14. Hannah Small 15. Jenne Magafan 16. Zena Voynow 17. Edward Chavez 18. unknown 19. unknown 20. Helen Shotwell 21. Margaret Fitzpatrick 22. unknown 23. Edward Millman 24. Norma Millman 25.Tommy Zaidenburg 26. Mitchell Siporin 27. Eugene Ludins 28. Vadia Padwa

29. Ethel Magafan 30. August Hansen 31.Yasuo Kuniyoshi 32. Julio de Diego 33. Cecile Forman 34. Denny Winters 35. unknown 36. Helen Martin 37. Andy Voynow 38. Fletcher Martin 39. Arnold Blanch 40. unknown 41. Philip Guston

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The Art Students League in Woodstock 1947–79 Jenne M. Currie Exhibition Curator Instructor, Woodstock School of Art

Doris Lee, Amy Small, Agnes Hart, Edward Chavez, Arthur Zaidenberg, Hannah Small decorating for the Woodstook Artists Ball, c. 1948

I

t is 1947 and the end of World War II has given way to the Baby Boom era. Young people, their lives having been disrupted by the war, are striving to reinvent themselves. Returning GIs are reconnecting with their sweethearts and searching for somewhere to start a family.

In New York City, the Art Students League experiences an influx of new enrollees thanks to the generous funding of the GI Bill. Meanwhile in Woodstock, Arnold Blanch, a League instructor and prominent artist, noted the aging population of his village. He persuades Stuart Klonis, director of the League, to reopen its summer school in Woodstock which, in its first incarnation, operated from 1906–1922. The reopening of the League’s Woodstock school in 1947 serves to lessen overcrowding in its New York City venue while offering Woodstock an infusion of youthful energy. The impressive roster of notable artists teaching at the summer school attracts students to the Catskill Mountains from all over the country, while other young artists are drawn to the area to follow in the footsteps of elder statesmen George Bellows, John F. Carlson, and Eugene Speicher.

By the late 1940s, Abstract Expressionism—the first American-born movement in abstraction—is rocking the art world. Artists who enthusiastically embrace this 44 WSA

radical new art form clash verbally and passionately with traditional realist painters. This is a highly social era in Woodstock: artists frequently interact at dinner parties, in the local pub, and at the famed Art Students League balls. While quantities of cheap wine are consumed, the future of painting in America is feverishly debated replete with fist-pounding and storming out of social gatherings. It is hard to imagine, in the current age of limitless forms of artistic expression, how disruptive this homegrown art movement was to American culture at that time.

Woodstock artists regularly visit one another's art studios to discuss works in progress and the latest trends in New York City galleries and museums. Thus a critique which League instructor Edward Millman may have given one of his students on any given day could well have been influenced by a recent visit to Marion Greenwood’s studio or a discussion over dinner at the home of Arnold Blanch. League students were exposed to ideas that emanated from far beyond the personal taste of a particular instructor.

Over the years, the roster of instructors continually shifts and by the mid–1960s, Robert Angeloch begins teaching at the League’s Woodstock branch. Angeloch will be a consistent presence at the art school for the next fifteen years, exerting a conservative influence on

the institution while also teaching at the Woodstock School of Art, then located on Millstream Road.

In the 1970s, the League, coping with the challenges of finding affordable housing for its students, begins to experience a decline in enrollment and by 1979 it is forced to close its doors. As the vacant studios languish, Angeloch formulates a plan to preserve the property by purchasing the buildings. Once he has achieved this complex goal, the Woodstock School of Art moves into the roomy campus. After only a twoyear hiatus, the studios are once again bustling with creative energy.

Eight years after Angeloch’s passing in 2011, the WSA is thriving—the campus buildings have undergone a loving restoration, new instructors are being added, and the student body steadily grows. Due to the efforts of Robert Angeloch and others, the 38-acre property has experienced an almost uninterrupted 72year run as a vital element in Woodstock’s ever-changing art scene.

In The Art Students League in Woodstock 1947–79, work by League instructors is juxtaposed with that of their creative circle. The dynamic tension between artists who resisted abstraction and those who embraced it is highlighted by their works being exhibited side by side. These intertwining relationships are

explored through nearly sixty exceptional works: from a traditional portrait painting by Marion Greenwood to an Abstract Expressionist work on paper by Philip Guston, from intimate lithographs by Yasuo Kuniyoshi to a bold assemblage painting by Bruce Dorfman. This last artwork brings the exhibition’s timeline into the twenty-first century, as it was created by Dorfman in 2017. Dorfman and his colleague Richard Mayhew, also featured in this exhibition, are the last living League instructors from this era.

As a painter, sculptor, baby boomer, and daughter and niece of four post-war Woodstock artists, I was fortunate to be raised in this fertile creative milieu. Humbled by the task at hand, I hope our contribution to Woodstock Collects will bring to life the vital role that instructors at the Art Students League in Woodstock, and their peers in the artistic community, have played in the town’s rich cultural history.

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Robert Angeloch 1922–2011 Ostego, 1968 Oil on canvas, 11½ x 15½ in.

Collection of Maury Moncure Arnold Blanch 1896–1968 Island Landscape, c. 1960 Oil on canvas, 42 x 34½ in.

Collection of Ann Roberts Blanch Braun

Edward Chavez 1917–1995 Oljate, 1972 Carved walnut, 24 x 16 x 45 in.

Collection of Maia Chavez Larkin Bruce Dorfman b. 1936 October Rising, 2017 Assemblage painting, 59 x 36½ in.

Collection of the artist

46 WSA

47

48 WSA

Yasuo Kuniyoshi 1889-1953 Before the Act, 1932 Lithograph, 13 x 9¾ in.

Collection of Stephen and Charlotte Diamond

Marion Greenwood 1909–1970 Portrait of Amy (Small), 1952 Oil on canvas, 23¾ x 17½ in.

Collection of Elisabeth Small

Richard Goetz 1915–1991 The Iron, 1970 Oil on canvas, 14 x 18 in.

Collection of Mary Anna Goetz and James Cox

Philip Guston 1913–1980 The Room, 1958 Gouache on paper, 2178⁄ x 2978⁄ in.

Private collection

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Andrée Ruellan 1905–2006 Summer Flowers, c. 1960 Oil on canvas, 18½ x 13½ in.

Collection of Jennie and Daniel Gelfand Hannah Small, 1903–1992 Figure Reclining, c. 1970 Cast plaster, 13 x 6 x 8 in.

Collection of Abigail Sturges Doris Lee 1905–1983 Bee Keeper, n.d.

Gouache on board, 21 x 14¼ in.

Woodstock Artists Association & Museum, Gift of Ruth and Elliot Gruenberg Jenne Magafan 1916–1952 The Stair, 1951 Oil on canvas, 19½ x 13½ in.

Collection of Jenne M. Currie

50 WSA

51

Center for Photography at Woodstock Established 1977

Susana Torruella Leval CPW's building, shown here in a photo from 1999, has a long history as barn, art supply store, library, cafe, music scene, and finally photography gallery and artist workspace. Photograph by Judi Esmond.

CPW's main gallery serves as flexible space for solo and group exhibitions, lectures and special events. Photograph by Hannah Frieser.

I

f the four institutions discussed in the preceding pages thrived on continuity and connections with the past, the fifth and youngest, the Center for Photography at Woodstock (CPW), was nourished from the first by newness and experimentation. It was the brainchild of Howard Greenberg and cofounder Michael Feinberg, two young photographers who could not find a place to show photographs in town. Greenberg, a photographer for the Woodstock Times, went searching for coveted issues of Alfred Stieglitz’s journal Camera Work1 in the area, found three originals, sold them profitably and, with the $5,000 generated by their sale, founded CPW in 1977.2 As CPW’s venue, Greenberg and Feinberg chose an 1825 building on Tinker Street with a fascinating history, artistic and otherwise: among other identities, it served as the Woodstock Library and the Espresso Café, famous to Woodstockers as where Bob Dylan wrote some of his songs.3 Early CPW supporters were now well-known gallerist James Reinish and Karl Berger from the Creative Music Studio. The New York State Council on the Arts was an important early funder.

Howard Greenberg was born to be an art dealer, and in 1981 he left CPW to open Photofind (now the Howard Greenberg Gallery), a pioneering photography gallery.4 Greenberg is proudest of having created and 52 CP W

developed a modern market for fine art photography within one of the most fiercely competitive art environments in the world. Over the course of his life’s work, Greenberg has successfully created three different collections. Beyond that of his gallery, he has donated a historical collection of 1200 works to the Samuel Dorsky Museum of Art at SUNY New Paltz. The Museum of Fine Arts, Boston recently acquired his collection of 447 photographs of modernist masterpieces and mid-20th century classics.

Greenberg’s immense contribution to photography has been his lifelong examination and presentation of the “living history” of photography from Pictorialism to modernism. His first exhibition for CPW, and first love, was pioneer photographer Eva Watson-Schütze.

He describes being smitten upon seeing WatsonSchütze’s platinum prints: I could say that my introduction to Eva WatsonSchütze’s photography changed the course of my life.

In 1975, when I was a young photographer, and knew little about the medium’s history. . . I had never seen prints like these before. The lush, glowing effect of the platinum paper, combined with Watson-Schütze’s singular and masterful use of light, opened a new door to an old world gone by. . . . [M]y pursuit of knowledge and photographs from the discipline’s pre-modern

period thus began. It informed and defined the rest of my life’s work, and I never turned back.5

To many people interested in photography, Eva Watson-Schütze represents an inspiring female pioneer who trespassed into forbidden professional artistic territory at the turn of the last century. She was fierce in her commitment to her chosen profession as a photographer, and by the time she arrived in Woodstock at age thirty-five, she had established portrait studios in Philadelphia and Chicago and collaborated with Alfred Stieglitz to found the important Photo-Secession movement. Yet she had many guises as a typical artist and Woodstocker around 1900: resident at the original Byrdcliffe Colony; member of the WAA; teacher at the Art Students League; and founder of the Historical Society. It is wonderful to imagine Howard Greenberg bumping into Watson-Schütze on Tinker Street and sharing a passionate discussion with her about photography—had Greenberg been born fifty years earlier.

If Greenberg’s professional passions took a turn towards historical photography, twin sisters Colleen and Kathleen Kenyon proved his perfect successors to take CPW squarely into the world of contemporary photography. Colleen took the helm as executive director, while Kathleen served as program director. During their long

tenure (1981–2003) they generated a whirlwind of activity that set the parameters for CPW programs to this day. Their mission, like their spirits, was adventurous and bold: “All genres, all subjects are areas of curiosity.

We throw a new light on work by established artists. . . .

And we take risks: we search out and showcase artists whose work is unknown, has been overlooked, or considered not commercially viable—this is the greatest pleasure of working at an artist-run alternative space.” 6 CPW’s exhibitions,6 photography workshops,8 and its Center Quarterly (1979–2009) took the organization from local to international attention, and by 1990 it was one of the major photographic resources of the east coast. Jeffrey Hoone, photography scholar and longtime director of Light Work in Syracuse, remembers the excitement of that cultural moment, when “photography was exploding.” He recalls the vital role CPW played in the “grand experiment” among a group of artist-run photography centers, whose goal was to respond immediately, in programs and publications, to the work of the moment by contemporary photographers.9 The Kenyon twins started the Photographer’s Fellowship Fund to discover and reward regional artists and also initiated CPW’s annual benefit auction which soon drew international participants.With foresight, the Kenyons secured a permanent home for CPW 53

in 1987 by purchasing the building at 59 Tinker Street.

When the Espresso Café closed three years later, they expanded their gallery and program spaces into the first floor and current street level presence.

Doug James, a jazz drummer who had enjoyed business success in New York City, arrived in Woodstock in the 1960s, liked it, began coming for weekends, and stayed—a story that fits many transplants. Now an allimportant collector and philanthropist in town, he became involved with the board of the Woodstock Byrdcliffe Guild in 1981, shortly after CPW opened. He met Colleen and Kathleen Kenyon and was impressed by their work. For him, “[CPW] was the best game in town during the 80s and 90s. . . . The fundraising auctions, full of international photographers, were the most fun, and inspired my collecting. . . . Whatever I’ve done in town, started with them.”10 Starting in 2001, Ariel Shanberg—curator, writer, and now director of the Delaware Valley Arts Alliance— worked at CPW and led the organization as director from 2003 to 2015. He continued the legacy of the Kenyon programs, strengthened the important artistin-residence program for artists of color initiated in 1999, and emphasized portions of the mission that supported emerging artists.

Hannah Frieser, director of CPW since 2016, has a mission to “celebrate photography’s role in contemporary culture.”11 While continuing the Center’s core programs and completing the digitization of the collection, she has expanded “the dialogue with diversity, race, and identity, with an emphasis on social justice.” She led the purchase, in 2017, of artist Henry Mattson’s house to serve as housing for the artist-in-residence program started almost twenty years ago. For 2020, Frieser’s goal is to create a professional network for artists and join the national discussion about practices and theories in contemporary photography.

For Woodstock Collects, Frieser has curated Woodstock Squared: Photography in the Abstract, comprised of 32 works by three Woodstock photographers— Konrad Cramer, Manuel Komroff, and Nathan Resnick— mostly drawn from the collection of Woodstock resident JeanYoung. Frieser was fascinated by the men’s “intense experimentation and shift to abstraction. . . the moment of transformation from the real to the abstract.”12 The artists had probably been inspired by a radical exhibition at the Museum of Modern Art in 54 CP W

1951, Abstraction in Photography, curated by Edward Steichen. Further intrigued by experimental techniques such as solarization and double exposure, and aided by drawing machines like the harmonograph and the sympalmagraph (the latter invented by Cramer himself in the late 40s), it seemed that “everything was an invitation to experiment.”13 And that is what we see in Frieser’s intense yet playful exhibition. It is scientific and lyrical, exact and whimsical. Frieser notes that there are “so many changes in how we see things.” 14 Those words aptly describe the show, as well as the field of photography in 2019.

Notes 1 Camera Work was a quarterly photographic journal published from 1903 to 1917.

2 Sincere thanks to Howard Greenberg for his generosity in sharing the early history of his founding of CPW with me.

Phone interview, June 6, 2019.

3 The Art Students League taught summer classes there in 1907 and 1908; it was an art supply store; functioned as the Woodstock Library; and, in its incarnation as the Espresso Café, witnessed the birth of the folk music revival with performances

by Bob Dylan, Joan Baez, and Peter, Paul and Mary. Its non-art history involved a social center, a ping-pong parlor, and an undertaker’s business, memorialized later in a coffeehouse named At the Sign of the Hearse.

4 After a few years in Woodstock, Photofind moved to SoHo for 17 years. In 2003, Howard Greenberg Gallery moved to its current home in the Fuller Building in New York City. http://www.howardgreenberg.com/about 5 Howard Greenberg, “Foreword,” in Tom Wolf, Eva WatsonSchütze: Photographer (New Paltz, NY: Samuel Dorsky Museum of Art, 2009), 5.

6 Colleen Kenyon, draft of the Center for Photography at Woodstock’s 1990 capital campaign brochure, n.p. CPW Archives.

7 Exhibitions at CPW have included now famous photographers like Dennis Adams, Bernd and Hilla Becher, Alan Belcher, Joan Fontcuberta, George Holz, Eve Laramee, Annette Lemieux, Ashley Owens, Andres Serrano, Hiroshi Sugimoto, Sokhi Wagner, James Wojcik, and others. Ibid.

8 Some of the internationally recognized professionals who served as faculty: Lucien Clergue, Judy Dater, Nathan Farb, Sally Mann, Mary Ellen Mark, Arnold Newman, Lilo Raymond, Eugene Richards, Craig Stevens, George Tice, and Jerry Uelsmann. Ibid.

9 Pioneering photography organizations of that time besides Light Work include: CEPA Gallery, Buffalo; Eastman House, Rochester; and Camera Work, San Francisco. Jeffrey Hoone also directs the Menschel Media Center and the Coalition of Museum and Art Centers (CMAC) at Syracuse University.

10 Doug James, phone interview, May 4, 2019. I am grateful to Mr. James for sharing his recollections about CPW during that time.

11 Interview with Hannah Frieser, June 14, 2019.

12 Ibid.

13 Ibid.

14 Ibid.

Woodstock Squared: Photography in the Abstract Hannah Frieser Exhibition curator Executive Director, Center for Photography at Woodstock

Manuel Komroff 1890–1974 Form Drama, 1959 Silver gelatin print, 11 x 14 in.

Collection of Jean Young

I

n conjunction with the collaborative exhibition Woodstock Collects, the Center for Photography at Woodstock presents an exhibition featuring Woodstock-based artists Konrad Cramer, Manuel Komroff, and Nathan Resnick. The exhibition will focus on their change from Pictorialism to abstraction at a time of enthusiastic experimentation. Cramer and Komroff were also active in many other disciplines, from painting to writing novels and performing music.

This exhibition focuses on art that has remained in the homes of private collectors within the community.

This detail bears relevance as it is indicative of the wealth of visual treasures that continue to enrich the town of Woodstock. It is almost impossible to enter the household of any longtime Woodstocker and not discover paintings, sculptures, and photographs by local artists. This exhibition draws mostly from the collections of Jean Young, James Cox, and Howard Greenberg, to whom we owe many thanks for their generosity and collecting prowess.

Konrad Cramer (1888–1963) was born and raised in Würzburg, Germany, in Bavaria. Based in Woodstock, he ran a summer school for miniature camera photography in the 1930s and later taught photography at Bard College. While also active as a painter combining abstract and geometric forms with bold colors, he was

best known as a photographer who started experimenting with darkroom techniques of abstraction, double-exposure, and solarization as early as the 1930s.

Manuel Komroff (1890–1974) was an Americanborn photographer who also was well known as playwright, screenwriter, and prolific novelist. He actively documented his creative community with enigmatic portraits of local artists while actively experimenting with the abstraction of nature and nudes.

Less is known about Nathan Resnick (1910–1977), who worked closely alongside Cramer and Komroff and dipped into darkroom and camera abstraction around the same time. His solarization of trees and other nature motifs equaled Komroff’s in experimentation and enthusiasm. Resnick was a specialist in Walt Whitman and a long-time faculty member at Long Island University. In 1962, Resnick co-published the book The Third Eye with Cramer and Komroff, describing it as “exploratory photography.” Two exhibitions by the same title were held in Manhattan and Brooklyn in 1959 and 1960 respectively.

All three artists were deeply connected to the community where they lived and worked. Then as now, Woodstock stood out as a supportive and close-knit community of creative minds that spanned many disciplines, creating a nurturing vibrancy rarely seen elsewhere.

55

Facing page

Facing page

Top left Konrad Cramer 1888–1963 Tempest, n.d.

Silver gelatin print, 9¾ x 7 78⁄ in.

Collection of the James Cox Gallery at Woodstock 78⁄

Top right Konrad Cramer 1888–1963 Untitled (Sympalmagraph), n.d.

Silver gelatin print, 1312⁄ x 1058⁄ in.

Collection of the James Cox Gallery at Woodstock

Bottom left Konrad Cramer 1888–1963 Abyss II, 1961 Silver gelatin print, 9131⁄ 6 x 7111⁄ 6 in.

Collection of the James Cox Gallery at Woodstock

Bottom right Konrad Cramer 1888–1963 Composition (#17), n.d.

Silver gelatin print, 9¾ x 758⁄ in.

Collection of the James Cox Gallery at Woodstock

Konrad Cramer 1888–1963 Untitled, n.d.

Silver gelatin print, 378⁄ x 478⁄ in.

Collection of the James Cox Gallery at Woodstock

56 CP W

57

Manuel Komroff 1890–1974 Untitled , n.d.

Silver gelatin print, 478⁄ x 678⁄ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 738⁄ x 978⁄ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled , n.d.

Silver gelatin print, 338⁄ x 5 14⁄ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled , n.d.

Silver gelatin print, 5 14⁄ x 434⁄ in.

Collection of Jean Young

58 CP W

59

Nathan Resnick 1910–1977 Aspiration, n.d.

Silver gelatin print, 14 x 978⁄ in.

Collection of Jean Young Nathan Resnick 1910–1977 The Edge of the Wind, n.d.

Silver gelatin print, 1378⁄ x 11 in.

Collection of Jean Young

Nathan Resnick 1910–1977 Untitled, n.d.

Silver gelatin print, 734⁄ x 9 14⁄ in.

Collection of Jean Young

60 CP W

Nathan Resnick 1910–1977 Theme and Variations, n.d.

Silver gelatin print, 1378⁄ x 11 in.

Collection of Jean Young

61

Afterword

Checklist for Woodstock Collects

Susana Torruella Leval

W

hile tracing the history of the organizations that collaborated on the exhibition Woodstock Collects, I was astonished by their interconnections. The narrative arc of their individual histories and stages of development—foundation, early growth, flourishing maturity, waning, disruption, rebirth, expansion—covers over one hundred years, a fact notable in itself. Considered holistically, this collective history is like a relay race of creative organizational leaders in which the baton has been passed uninterruptedly for a century.The vitality of these arts organizations mirrors the special energy of Woodstock—and also helps to power it. Artists have always been at the center of that power, infiltrating every facet of the town’s life and invigorating it, from the founding of Byrdcliffe in 1902 to the numerous art programs available in town on any given weekend.Although, as Sylvia Leonard Wolf points out, artists often feel “the compulsion to create and be left in peace,”1 those who founded the Byrdcliffe and Maverick colonies presented a different and generous model, integrating artists into the life of the town, then as now.

Although artists and non-artists continue to flow to Woodstock as a refuge and for the beauty of the landscape, proximity to New York City is also part of the draw. Videographer Cambiz Khosravi, a longtime observer of Woodstock town life and history, reminds us that nearness to a metropolis was embedded in John Ruskin’s original vision for an ideal art colony, which influenced Whitehead in establishing the Byrdcliffe site.

Khosravi further notes that the digital age, enabling Woodstockers to be both away and connected, has helped realize Whitehead’s original dream for Byrdcliffe.2 62

The interconnectedness between people is what keeps Woodstock alive as an art colony. Geddy Sveikauskas, publisher of the Woodstock Times, prizes the empathy and tolerance of town life.3 Doug James emphasizes the primacy of personal interrelations:“All of these connections required interaction among people.A lot of Midwesterners came here; they decided to stay because there was something special going on.”4 Business-like Howard Greenberg uses surprisingly romantic language to describe the town’s attraction: “Woodstock has always had the magic—some kind of configuration of stars enabling it to become a magnetic place for creative people. . . like-minded people with an open heart and mind.”5 How to explain the magic of Woodstock’s charisma? Woodstock artist Manuel Bromberg gets the last word:“It’s too late to stop it.”6

Woodstock Byrdcliffe Guild

Notes 1 Interview with Sylvia Leonard Wolf, May 13, 2019.

2 Interview with Cambiz Khosravi, June 16, 2019. Khosravi’s video, Woodstock: In Search of Utopia (2012), draws interesting parallels between Woodstock’s early and contemporary history as an art colony.

3 Interview with Geddy Sveikauskas, June 6, 2019.

4 Doug James, phone interview, May 14, 2019.

5 Howard Greenberg, phone interview, May 6, 2019.

6 Interview with Manuel Bromberg, May 4, 2019. Bromberg is a master artist and thinker, and a centenarian who is also totally contemporary. His artistic career has spanned numerous modes. During World War II, he served as an official battlefield artist covering the war in drawings, paintings, and photographs. He subsequently experimented with the social realism that flourished in Woodstock, and eventually moved into the avant-garde with abstract murals and conceptualist sculpture related to land art.

George Bellows 1882-1925 The Reader, c. 1923 Lithographic crayon on paper, 8 x 12½ in.

Collection of Arthur A. Anderson

Marianne Appel 1913-1988 Trees, n.d.

Oil on linen, 23½ x 29½ in.

Collection of Sarah Greer Mecklem and Merrill Mecklem Piera Milton Avery 1885-1965 My Wife Sally, 1930 Drypoint etching, 5½ x 8¼ in.

Collection of Beth Uffner Jesse Tarbox Beals 1870-1942 White Pines, 1908 Gelatin silver print, 5½ x 9½ in.

Collection of the Woodstock Byrdcliffe Guild Gift of Jill and Mark Wilcox, Jr. George Bellows 1882-1925 Portrait of Florence Ballin Cramer, 1922 Lithographic crayon on paper, 12 x 9 in.

Collection of Arthur A. Anderson

George Bellows 1882-1925 Jean in a Black Hat, c. 1923 Lithograph on paper, 15 x 11 in.

Collection of Arthur A. Anderson John W. Bentley 1880-1951 Woodstock Landscape, c. 1925 Oil on board, 24 x 30 in.

Collection of the Woodstock Byrdcliffe Guild Gift of Maribeth Harmes Otto Bierhals 1879-1994 Landscape, n.d.

Oil on canvas, 5½ x 9½ in.

Collection of Henry T. Ford

Arnold Blanch 1896-1968 Woodstock Landscape with Bridge, c. 1930 Oil on canvas, 15 x 22 in.

Collection of Tatiana and Anthony Robinson Lucile Blanch 1895-1981 Anemones, c. 1970s Oil on canvas board, 12 x 18 in.

Collection of Sylvia Leonard Wolf

Margaret Goddard Carlson 1882-1965 Untitled (House with Pines), n.d.

Oil on canvas, 15½ x 11½ in.

Collection of the Carlson family Robert Winthrop Chanler 1872-1930 Portrait of Louise Hellstrom, c. 1925 Oil on canvas, 24 x 36 in.

Private collection

Louis Bouché 1896-1969 Interior with Desk and Chair, n.d.

Oil on canvas, 13¾ x 10½ in.

Collection of Judith Kuppersmith

Frank Swift Chase 1886-1958 Landscape, n.d.

Graphite on paper, 5½ x 8¼ in.

Collection of Jency Elliot

Jane Dow Bromberg 1913-2008 Colorado, 1940 Lithograph, 10¼ x 13¾ in.

Collection of Tina Bromberg

Frank Swift Chase 1886-1958 Untitled, n.d.

Oil on board, 19½ x 15½ in.

Collection of Sam and Barrie Freed

Bolton Brown 1864-1936 Catskill Mountains, c. 1913-1914 Oil on canvas board, 8 x 10 in.

Private collection

Edward Chavez 1917-1995 Red Sky, 1967 Oil on canvas, 13 x 18 in.

Collection of Jenne M. Currie

Bolton Brown 1864-1936 The Crooked Tree, n.d.

Lithograph, 10½ x 10½ in.

Collection of Natalie Chapman and Galen Kirkland

Allen Dean Cochran 1888-1971 Cooper Lake, n.d.

Oil on canvas, 24½ x 30 in.

Private collection

Petra Cabot 1907-2006 Untitled, n.d.

Oil on canvas, 15½ x 19½ in.

Collection of Elisabeth Small Jo Cantine 1893-1987 Girl in Pink Dress, n.d.

Oil on canvas, 30 x 38 in.

Collection of Peter Cantine John F. Carlson 1875-1945 Untitled (Red Barn with Chickens), 1917 Oil on canvas, 5½ x 6¾ in.

Collection of the Carlson family

Florence Ballin Cramer 1884-1962 Excelsior Hotel, n.d.

Oil on canvas, 23¾ x 17½ in.

Collection of the Cramer Estate Florence Ballin Cramer 1884-1962 Portrait of Konrad Cramer, 1949 Silver gelatin print, 9¾ x 7½ in.

Collection of Paula Nelson and John Kleinhans Konrad Cramer 1888-1963 White House with Red Barn, n.d.

Ink wash on paper, 13 x 15 in.

Collection of the Cramer Estate

Rollin Crampton 1886-1970 Untitled, c. 1963 Oil on paper, 18 x 28 in.

Collection of Manuel Bromberg Andrew Dasburg 1887-1979 Untitled, n.d.

Pencil on paper, 2018⁄ x 1818⁄ in.

Collection of Sam and Barrie Freed Julio de Diego 1900-1979 Abstract Stripes, n.d.

Lithograph, 14½ x 21¾ in.

Collection of Natalie Chapman and Galen Kirkland Franklin Drake 1929-2001 Pears, 1949 Oil on Masonite, 6½ x 5¾ in.

Collection of Ruth Drake Alf Evers 1905-2004 Orchard in Snow, c. 1940s Oil on canvas, 16 x 20 in.

Collection of Henry T. Ford Ernest Fiene 1894-1965 Portrait of Jane Dow (Bromberg), 1940 Oil on board, 13 x 10 in.

Collection of Manuel Bromberg Harvey Fite 1903-1976 Female Head, c. 1950 Wood, 7 x 15 x 7 in.

Collection of Tad Richards John Bernard Flannagan 1895-1942 Untitled, n.d.

Woodcut, 8½ x 5½ in.

Collection of Joel Rosenkranz Karl Fortess 1907-1993 Night Scene, n.d.

Oil on canvas, 15 x 19½ in.

Collection of Henry T. Ford

63

Emil Ganso 1895-1941 Early Snow, 1937-1938 Lithograph, 18½ x 23½ in.

Collection of Sam and Barrie Freed

Jane Jones 1907-2001 Rondout Barge, 1930s Oil on canvas, 10 x 13¾ in.

Estate of Jane Jones

Emil Ganso 1895-1941 Nude in Bath, 1938 Pastel on paper, 28 x 21¼ in.

Collection of Arthur A. Anderson

Wendell Jones 1899-1956 Road to Guaymas, 1937 Oil on canvas, 16 x 20 in.

Estate of Wendell Jones

Eugenie Gershoy 1901-1986 Sausalito, c. 1945 Watercolor on paper, 13 x 13 in.

Collection of Sam and Barrie Freed

Herminie E. Kleinert 1880-1943 Untitled, n.d.

Oil on board, 15½ x 19½ in.

Collection of the Woodstock Byrdcliffe Guild

Juanita Guccione 1904-1999 Untitled, n.d.

Gouache on paper, 10½ x 14 in.

Collection of Lesley and Robert Sibner Philip Guston 1913-1980 Jo—Look. in Fridg, (inscribed), c. 1970s Pencil on paper, 11½ x 7½ in.

Private collection Philip Guston 1913-1980 The Street, (inscribed “To John and Leslie”), 1970 Lithograph, AP, 23 x 30 in.

Private collection Carolyn Haeberlin 1913-2000 Flowers in Vase, n.d.

Oil on canvas, 24 x 30 in.

Collection of Henry T. Ford Raoul Hague 1924-1962 Female Torso, n.d.

Marble on wood base, 15 x 11 x 7½ in.

Private collection Lovell Birge Harrison 1854-1929 Untitled, c. 1929 Oil on canvas, 29 x 24½ in.

Collection of Casey Bonesteel Drake Lovell Birge Harrison 1854-1929 Untitled (View of the Stream), c. 1904 Pastel and graphite over woodblock print, 10¾ x 15½ in.

Collection of Douglas C. James Rosella Hartman 1895-1984 Leopards, c. 1940s Oil on canvas, 24 x 30 in.

Private collection Wilna Hervey 1894-1979 Children in Snow, n.d.

Oil on canvas, 8 x 10 in.

Collection of Natalie Chapman and Galen Kirkland

64 CHECK L IST

Georgina Klitgaard 1893-1976 Arbor Day, 1943 Oil on canvas, 26 x 36 in.

Collection of Beth Uffner Doris Lee 1905-1983 Untitled, n.d.

Gouache on paper, 13¼ x 8¾ in.

Private collection Tom Leonard d. 1957 Arnold Blanch, 1947 Photograph, 11 x 11 in.

Collection of Tad Richards Tom Leonard d. 1957 Harvey Fite in his Studio, 1947 Conte photo, 14 x 11 in.

Collection of Tad Richards Tom Leonard d. 1957 Wendell Jones and Family, 1947 Conte photo, 14 x 11 in.

Collection of Tad Richards Tom Leonard d. 1957 Doris Lee, 1947 Conte photo, 14 x 11 in.

Collection of Tad Richards Tom Leonard d. 1957 Carl Walters in his Studio, 1947 Conte photo, 14 x 11 in.

Collection of Tad Richards Carl Eric Lindin 1869-1942 Bearsville, c. 1920 Oil on canvas, 24 x 52 in.

Collection of Sylvia Leonard Wolf

Georges Malkine 1898-1970 La Vielle Coque (The Old Barge), 1965 Oil on canvas, 33 x 35¾ in.

Collection of Fern Malkine-Falvey Georges Malkine 1898-1970 Self-Portrait, 1923 Black and white photograph, 8 x 6 in.

Collection of Fern Malkine-Falvey Howard Mandel 1917-1999 The Three Kings, n.d.

Lithograph, 10 x 14 in.

Collection of Abigail Sturges Nicholas Marsicano 1908-1991 Nude and Apu, 1972 Oil on paper, 18 x 24 in.

Collection of Susan Marsicano

Walter Plate 1925-1972 Untitled, 1972 Oil on paper, 19 x 14½ in.

Collection of Manuel Bromberg Joseph Pollet 1897-1979 Barns, n.d.

Oil on canvas, 20 x 24 in.

Estate of Jane Jones Joseph Pollet 1897-1979 Studio Window, n.d.

Oil on canvas, 29½ x 39¾ in.

Collection of Michael Hunold Josef Presser 1909-1967 Woodstock Landscape, c. 1945 Mixed media on paper, 13¾ x 18 in.

Collection of Lesley and Robert Sibner

Fletcher Martin 1904-1979 Glamour Gal, 1961 Litihograph, 24 x 18 in.

Collection of Paloma Mele

Anton Refregier 1905-1979 Woman Receives a Letter, n.d.

Oil on canvas, 29½ x 26¾ in.

Collection of Brigit Refregier

Henry Mattson 1887-1971 Landscape, 1930 Oil on canvas, 26 x 28 in.

Collection of Sam and Barrie Freed

Anton Refregier 1905-1979 Ceramic Plate, 1978 Ceramic, 12¾ x 2½ in.

Collection of Brigit Refregier

John McClellan 1908-1986 Three Men, 1940 Watercolor on paper, 22¼ x 15¼ in.

Collection of Suzan McClellan Whiting

Winold Reiss 1886-1953 September, n.d.

Woodcut, 8 x 8 in.

Collection of Beth Uffner

Henry Lee McFee 1886-1953 Untitled (Still Life with Pink Drape), c. 1925 Oil on canvas, 25½ x 32½ in.

Collection of Sam and Barrie Freed Austin Mecklem 1890-1951 White House in Orchard, n.d.

Oil on canvas, 11¼ x 13½ in.

Collection of Sarah Greer Mecklem Austin Mecklem 1890-1951 Self-Portrait, n.d.

Oil on board, 15¼ x 11¼ in.

Collection of Merrill Mecklem Piera

Eugene Ludins 1904-1996 Self-Portrait with Pipe, 1929-1931 Oil on canvas, 21 x 16 in.

Collection of Pierre and Susana Leval

Edward Millman 1907-1964 Winter Landscape, 1960 Casein on paper, 23 x 35 in.

Private collection

Ethel Magafan 1916-1993 Purple Mountains, 1947 Oil on masonite, 21 x 27 in.

Collection of Sylvia Leonard Wolf

Tomas Penning 1905-1982 White with Sailboat, c. 1960s Stone, 7¾ x 7¾ in.

Collection of the Rakov Family

Charles Rosen 1878-1950 Brickyard, 1931 Oil on canvas, 30 x 24 in.

Collection of Arthur A. Anderson Andrée Ruellan 1905-2006 Flowers, n.d.

Monoprint, 5½ x 6½ in.

Collection of Henry T. Ford Rolph Scarlett 1889-1984 Dolphins, 1936 Gouache on paper, 10¼ x 9¾ in.

Collection of Sylvia Leonard Wolf Amy Small 1910-1997 The Kiss, n.d.

Wood sculpture, 7½ x 4 x 32 in.

Collection of Elisabeth Small Hannah Small 1903–1992 Sleeping Girl, c.1950-55 Alabaster, 11 x 13 x 18¾ in.

Collection Pierre and Susana Leval Anita M. Smith 1893-1968 Church in Willow, n.d.

Oil on canvas, 26¾ x 28¾ in.

Collection of Sam and Barrie Freed

Jehudith Sobel 1924-2012 Tree, n.d.

Oil on canvas, 30 x 36 in.

Collection of Lesley and Robert Sibner Eugene Speicher 1883-1962 Untitled, n.d.

Oil on canvas, 15½ x 19½ in.

Collection of Tatiana and Anthony Robinson Zulma Steele 1881-1979 Drop-Front Desk with Iris Panels, 1904 Stained cherry, 50½ x 28¾ x 16 in.

Collection of the Woodstock Byrdcliffe Guild Gift of Elise Glenne and the Douglas C. James Charitable Trust Zulma Steele 1881-1979 Purple Hills, c. 1914 Oil on board, 8 x 10 in.

Collection of the Woodstock Byrdcliffe Guild Gift of William R. Ginsberg Bernard Steffen 1907-1980 Abstract, c. 1965 Serigraph, 7½ x 9½ in.

Collection of Eleanor Steffen Janette Steinlauf 1919-1967 The Tree Waits, 1964 Oil on canvas, 11 x 8 in.

Collection of Karen Walker Betty Sturges 1913-2003 Self-Portrait, c. 1931 Oil on canvas, 23 x 19½ in.

Collection of Abigail Sturges John W. Taylor 1897-1983 Woodstock Landscape, 1940 Lithograph, 10¾ x 14½ in.

Woodstock Artists Association & Museum Gift of Andrée Ruellan Unknown Anton Refregier and Friend, n.d.

Photograph, 12 x 10½ in.

Collection of Brigit Refregier Unknown Herminie E. Kleinert, n.d.

Photograph, 12 x 10½ in.

Collection of the Woodstock Byrdcliffe Guild Carl Walters 1883-1955 Bowl, c. 1950 Blue-green Egyptian glaze with black on a cream ground, 5 x 5 x 3 in.

Private collection

Eva Watson-Schütze 1867-1935 Jane Whitehead with Son, Peter, 1904 Platinum print, 8 x 5¾ in.

Collection of the Woodstock Byrdcliffe Guild Gift of Sarane O’Connor and Douglas C. James Jane Byrd McCall Whitehead 1861-1955 Landscape, c. 1890s Oil on canvas, 9 x 13 in.

Collection of the Woodstock Byrdcliffe Guild Gift of Douglas C. James Jane Byrd McCall Whitehead (1861-1955), Ralph Radcliffe Whitehead (1854-1929) Vase, Long-Necked, with Turquoise Glaze, (White Pines Pottery), 1915-1926 Ceramic, 13 x 7½ in.

Collection of the Woodstock Byrdcliffe Guild Gift of the Douglas C. James Charitable Trust Jane Byrd McCall Whitehead 1861-1955, Ralph Radcliffe Whitehead 1854-1929 Vase with Eucalyptus Painted on Turquoise Ground, (White Pines Pottery), 1915-1926 Ceramic, 8 x 6½ in.

Collection of the Woodstock Byrdcliffe Guild Gift of the Douglas C. James Charitable Trust Ralph Radcliffe Whitehead 1854-1920 Vase with Aubergine Glaze, “Byrdcliffe Blue” Glazed Interior, and Two Handles, 1915 Earthenware, 14¼ x 9½ in.

Collection of the Woodstock Byrdcliffe Guild Gift of Douglas C. James, William R. Ginsberg, Jane Traum, and Elise Glenne Reginald Wilson 1909-1993 Pitcher on Red Background, n.d.

Watercolor, 8 x 13 in.

Collection of Abigail Sturges

Woodstock Artists Association & Museum Eric Angeloch b. 1960 Untitled No. 39, 2018 Acrylic and gold leaf, 30 x 30 in.

Collection of the artist

Robert Angeloch 1922–2011 Falls at Shady, 1970 Oil on canvas, 30 x 40 in.

Collection of Eric Angeloch Marianne Appel 1913–1988 Porcupines, c. 1963 Oil on board, 52 x 18 in.

Woodstock Artists Association & Museum Gift of Sarah Greer Mecklem and Merrill Mecklem Piera Milton Avery 1885–1965 Dark Birds, Dark Sea, 1959 Oil on board, 18 x 24 in.

Woodstock Artists Association & Museum Gift of Elliot and Ruth Gruenberg Sally Michel Avery 1902–2003 Cornfield, 1988 Oil on canvas board, 9 x 12 in.

Woodstock Artists Association & Museum Gift of Marla Price Jane Dow Bromberg 1913–2008 Garden of the Gods, 1940 Lithograph, 12 x 15 in.

Collection of Manuel Bromberg Manuel Bromberg b. 1917 View from California Quarry, 2001 Acrylic on canvas, 58 x 36 in.

Collection of the artist Tina Bromberg b. 1949 Pond III, 2003 Acrylic on canvas, 12 x 12 in.

Collection of Barbara and Sam Jeffries March Avery Cavanaugh b. 1932 View of the Var, 2018 Oil on canvas, 30 x 24 in.

Collection of the artist Sean Cavanaugh b. 1969 Southern Structure, 2018 Oil on canvas, 30 x 30 in.

Collection of the artist Bruce Currie 1911–2011 Portrait of the Artist's Wife, 1960s Acrylic on watercolor board mounted on m1asonite 39¾ x 37 in.

Woodstock Artists Association & Museum Gift of Jenne M. Currie Jenne M. Currie, b.1956 Retsina and Fruit, 1998 Acrylic, copper and wood on masonite, 49 x 39 x 4 in.

Collection of the artist

Melanie Delgado b. 1977 Mountain Range of Misunderstanding, 2019 Oil on canvas, 36 x 36 in.

Collection of the artist Jeanne Englert b.1954 Passage, 2007 Charcoal on paper, 31 x 1938⁄ in.

Collection of the artist Mary Frank b. 1933 Untitled, 2018 Bluestone, paint and gesso, 24 x 24 x 12 in.

Collection of the artist, Courtesy of Elena Zang Gallery Ernest Frazier 1942–2004 Blues Man, n.d.

Ink on paper, 22 x 16 in.

Estate of the artist Xhosa Frazier b. 1974 To a Poet Lured by the thought of Domestic Bliss, 2019 Poem copyright Xhosa Frazier Jane Jones 1907–2001 Johnnie, 1935 Oil on canvas, 20 x 16 in.

Estate of Jane Jones Peter Jones b. 1941 Dog Tooth Burnisher, 2017 Oil on canvas, 12 x 24 in.

Collection of the artist Wendell Jones 1899–1956 Landscape with Salamander, 1946 Oil on canvas, 20¼ x 45 in.

Woodstock Artists Association & Museum Gift of Jane Jones Carole Kunstadt b. 1951 Markings No. 67, 2019 Graphite, colored pencil on triple layer mylar, 18 x 18 in.

Collection of the artist Arrow Kleeman b.1971 Internals, 2019 Oil on canvas stretched over wood panel, 24 x 24 in.

Collection of the artist Eleanore Lockspeiser 1900–1986 Dark Madder, 1985 Oil on canvas, 40 x 32 in.

Woodstock Artists Association & Museum Gift of Mary Frank Ethel Magafan 1916–1993 Mountain Waters, 1970 Tempera on masonite, 25½ x 43½ in.

Collection of Jenne M. Currie

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Austin Mecklem 1890–1951 Winter, 1927 Oil on canvas, 16 x 20 in.

Collection of Merrill Mecklem Piera Sarah Greer Mecklem b.1946 Barking, from Animal Stories series, 1994 Oil and wax on oval canvas and wood, 18 x 25½ in.

Collection of the artist

Allen Dean Cochran 1888–1971 Grey Day. . . Glasco Turnpike, Woodstock, NY, n.d.

Oil on board, 8 x 10 in.

Collection of Deborah and Richard Heppner Allen Dean Cochran 1888–1971 Summer Sunshine, n.d.

Oil on board, 8 x 10 in.

Collection of Deborah and Richard Heppner

Jenny Nelson b.1969 An Island Appears, 2019 Oil on linen, 40 x 40 in.

Collection of the artist Courtesy of the Carrie Haddad Gallery

Florence Ballin Cramer 1897–1968 Knife and Fork Restaurant, c. 1940 Oil on paper, 17 x 24 in.

Historical Society of Woodstock Gift of Aileen Cramer

Alan Siegel b. 1938 The Bull, 2019 Oil on canvas, 48 x 96 in.

Collection of the artist

Konrad Cramer 1888–1963 Self-Portrait, 1925 Pen on paper, 6 x 9 in.

Historical Society of Woodstock Gift of Aileen Cramer and Margot Taylor

Susan Stephenson b. 1968 Sunday at the Strand— Dixie Theater, 2006 Oil on panel, 16 x 24 in.

Collection of the artist Nancy Summers 1927–2018 Monhegan, n.d.

Etching and aquatint, 11 x 15 in.

Woodstock Artists Association & Museum WAA Annual Print Award

Historical Society of Woodstock Willard E. Allen 1860–1933 Overlook Mountain, n.d.

Oil on canvas, 15 x 19 in.

Collection of Donald and Nancy Allen Paul Arndt 1881–1971 Untitled, n.d.

Oil on canvas, 27 x 35 in.

Collection of Sue and Mike Reynolds Josephine Barnard 1869–1955 Untitled, 1929 Oil on canvas, 24 x 30 in.

Collection of Jean White Marion Bullard 1878–1950 Untitled, c. 1930 Oil on board, 8 x 10 in.

Historical Society of Woodstock Leilani Claire 1942–2005 Carnevale Shrine, n.d.

Photograph–multimedia, 20 x 9 x 3 in.

Collection of JoAnn Margolis

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Wilna Hervey 1894–1979 Beach Scene, 1965 Enamel on copper, 8 x 10 in.

Collection of Letitia Smith Gurden Howe 1903–1984 Tannery Brook, n.d.

Watercolor, 19 x 25 in.

Collection of Karyn Bevet Gurdon Howe 1903–1986 Twine’s Bookshop and Artist Supplies, 1968 Watercolor, 30 x 38 in.

Collection of Olivia Twine Sylva Hutchins 1925–2013 Elizabeth’s Garden, 1973 Pastel on sanded paper, 7 x 8 in.

Collection of Karyn Bevet Carl Eric Lindin 1869–1942 Old Farm, n.d.

Oil on canvas, 19 x 23 in.

Historical Society of Woodstock Gift of Mr. and Mrs.Theodore Wasserman

Eva Watson-Schütze 1867–1935 Portrait of Martin Schütze, 1905 Oil on canvas, 19 x 23 in.

Historical Society of Woodstock Gift of the artist

Arnold Blanch 1896–1968 Island Landscape, c. 1960 Oil on canvas, 42 x 34½ in.

Collection of Ann Roberts Blanch Braun

Anita M. Smith 1893–1968 Washington Square, n.d.

Oil on board, 8 x 10 in.

Estate of Anita M. Smith, Weston Blelock and Julia Blelock

Arnold Blanch 1896–1968 Kingston Landscape, 1935 Oil on canvas, 22 x 26 in.

Collection of Peter Koch

Zulma Steele 1881–1979 Overlook Mountain, 1914 Oil on canvas, 24 x 30 in.

Historical Society of Woodstock Gift of Michael Densen Aart Vos 1905–1990 Untitled, c. 1970 Mixed media, 8 x 11 in.

Collection of Karen Vos Johanna Vos 1909–2007 Untitled, c. 1970 Batik on cotton, 10 x 10 in.

Collection of Karen Vos

Konrad Cramer 1888–1963 Self-Portrait, 1933 Pen on paper, 5 x 8 in.

Historical Society of Woodstock Gift of Aileen Cramer and Margot Taylor

Margaret Lowengrund 1903–1957 Portrait of a Young Girl in a Red Hat, n.d.

Oil on canvas, 15 x 18 in.

Collection of Jean White

Elizabeth Woiceske 1882–1958 Our Village, c. 1930 Lithograph, 5 x 7 in.

Collection of Kathy Longyear

E.O. Drogseth 1874–1948 Valhalla, 1943 Pen and ink, 9 x 13 in.

Collection of Karen Vos

Nan Mason 1896–1982 Abstract Guitar, 1967 Enamel on copper, 6 x 6 in.

Collection of Letitia Smith

Woodstock School of Art

John Ernst 1920–1995 Untitled, 1968 Watercolor, 8 x 10 in.

Collection of Janine and John Mower

Catherine Murray 1936–1979 Untitled, c. 1950 Pastel, 8 x 11 in.

Collection of Sue and Mike Reynolds

Dan Gottschalk 1919–1979 Untitled, c. 1960 Oil on canvas, 9 x 13 in.

Collection of Kathryn and Walter Anderson

Edith Murray 1916–2011 Untitled, c.1970 Oil on board, 12 x 16 in.

Collection of Sue and Mike Reynolds

Marion Greenwood 1909–1970 Indito, n.d.

Ink on paper, 17 x 13 in.

Collection of Janine and John Mower

Paul Naylor 1941–2017 Woodbridge Abbey, n.d.

Oil on paper, 17 x 26 in.

Collection of Janine and John Mower

Emile Gruppe 1896–1978 Untitled, n.d.

Oil on board, 12 x 16 in.

Collection of Deborah and Richard Heppner Ruth Heppner 1925–2006 Untitled, n.d.

Watercolor 15 x 22 in.

Collection of Deborah and Richard Heppner

Pamela Vinton Ravenel 1883–1955 The Irvington Inn, c.1945 Watercolor, 12 x 18 in.

Collection of Kathy Longyear Genevieve Shultis 1900–1982 Untitled, c.1915 Pencil, 6 x 6 in.

Collection of Becky Reynolds

Franklin Alexander 1925–2007 Untitled, c. 1960 Oil on canvas, 48½ x 37½ in.

Collection of Paul Alexander Franklin Alexander 1925–2007 Elizabeth's Back, c. 1990 Charcoal wash, 13 x 10 in.

Collection of Paul Alexander Pia Oste-Alexander 1931–2018 Untitled, c. 2000 Print over collage, 36 x 15½ in.

Collection of Paul Alexander Robert Angeloch 1922–2011 Ostego, 1968 Oil on masonite, 11½ x 15½ in.

Collection of Maury Moncure Robert Angeloch 1922–2011 Potato Fields, c. 1974 Serigraph, 18 x 18 in.

Collection of Tatiana and Anthony Robinson Marianne Appel 1913–1988 Sandlot, 1944 Oil on canvas, 17½ x 29¾ in.

Collection of the Mecklem Family

Lucile Blanch 1895–1981 Woodstock Landscape, 1924 Oil on canvas, 16 x 20 in.

Collection of Tatiana and Anthony Robinson Paul Burlin 1886–1969 Gargantuan Woman, 1953 Oil on canvas, 48¾ x 31¾ in.

Woodstock Artists Association & Museum Gift of Mrs. Paul Burlin Edward Chavez 1917–1995 Yellow Sky, 1970 Acrylic on canvas, 14 x 20 in.

Collection of Cornelia Rosenblum Edward Chavez 1917–1995 Oljate, 1972 Carved walnut, 24 x 16 x 45 in.

Collection of Maia Chavez Larkin Herman Cherry, 1909–1992 Vertical and Square, 1960 Oil on canvas, 24 x 24 in.

Collection of Regina Cherry Bruce Currie, 1911–2011 Girl Drying Hair, 1981 Oil on panel, 11 x 8½ in.

Collection of Jenne M. Currie Bruce Dorfman b. 1936 October Rising, 2017 Assemblage painting, 59 x 36 x 6 in.

Collection of the artist Paul Fiene 1899–1949 Deer Rising, 1935 Terracotta, 9 x 11 x 5 in.

Private collection Ruth Gikow 1915–1982 Untitled, c. 1950 Ink on paper, 16 x 12 in.

Collection of Regina Cherry Richard Goetz 1915–1991 The Iron, 1970 Oil on canvas, 14 x 18 in.

Collection of Mary Anna Goetz and James Cox Marion Greenwood 1909–1970 Portrait of Amy (Small), 1952 Oil on canvas, 23¾ x 17½ in.

Collection of Elisabeth Small

Marion Greenwood 1909–1970 Haitian Drummers, 1951 Ink wash on paper, 17 x 23 in.

Collection of Marc Plate Philip Guston 1913–1980 The Room, 1958 Gouache on paper, 2178⁄ x 2978⁄ in.

Private collection Philip Guston 1913–1980 To the Plates, 1964 Ink on paper, 16 x 13½ in.

Collection of Marc Plate Carolyn Haeberlin 1913–2000 Trees, 1972 Oil on canvas, 29 x 36 in.

Collection of Ellen and Allen J. Zerkin Agnes Hart 1912–1979 Mountain Birds, 1940 Oil on canvas, 9 x 7½ in.

Collection of Arthur A. Anderson Jane Jones 1907–2001 Portrait of Hannah (Small), 1932 Oil on canvas, 12 x 10 in.

Estate of Eugene Ludins Nathaniel Kaz 1917–2010 Daydreaming, 1936 Carved marble, 11 x 22 x 8 in.

Courtesy of Conner Rosenkranz, New York Nathaniel Kaz 1917–2010 Accordion Player, 1936 Charcoal on paper, 12 x 9 Courtesy of Conner Rosenkranz, New York Yasuo Kuniyoshi 1889-1953 Before the Act, 1932 Lithograph, 13 x 9¾ in.

Collection of Stephen and Charlotte Diamond Yasuo Kuniyoshi 1889–1953 Café #2, 1935 Lithograph, 12½ x 978⁄ in.

Collection of Stephen and Charlotte Diamond Yasuo Kuniyoshi 1889–1953 Still Life, 1934 Lithograph, 16 x 12 in.

New York State Museum, Historic Woodstock Art Colony Collection of Arthur A. Anderson Sidney Laufman 1891–1985 Landscape, Mallorca, c. 1933 Oil on canvas, 25½ x 32 in.

Woodstock Artists Association & Museum Gift of Beatrice Laufman

Sidney Laufman 1891–1985 Trees, c. 1955 Oil on glass, 7 x 8¾ in.

Collection of Carolyn P. and John H. Wilson

Walter Plate 1925–1972 Untitled, 1957 Oil on paper, 19½ x 27¼ in.

Collection of Cornelia Rosenblum

Doris Lee 1905–1983 Bee Keeper, n.d.

Gouache on board, 21 x 14¼ in.

Woodstock Artists Association & Museum Gift of Ruth and Elliot Gruenberg

Joseph Pollet 1897–1979 Elizabeth Penning, 1940 Oil on canvas, 20 x 16 in.

Collection of Peter R. Jones

Jenne Magafan 1916–1952 The Stair, 1951 Oil on canvas, 19½ x 13½ in.

Collection of Jenne M. Currie Fletcher Martin 1904–1979 Portrait of (Herman) Cherry, 1940 Oil on canvas, 34 x 39 in.

Collection of Regina Cherry Fletcher Martin 1904–1979 To Ethel and Bruce, 1945 Ink on paper, 11½ x 8½ in.

Collection of Jenne M. Currie Nan Mason 1896–1982 Shark, 1955 Oil on board, 19 ½ x 14 ½ in.

Collection of Maury Moncure Richard Mayhew b. 1924 Gila, 2014 Oil on canvas, 36 x 36 in.

Private collection Courtesy ACA Galleries, NYC Austin Mecklem 1890–1951 Untitled, 1949 Casein on canvas, 13½ x 17½ in.

Collection of Sarah Greer Mecklem Sigmund Menkes 1896–1986 Still Life, 1940s Oil on canvas, 19¼ x 25 in.

Woodstock Artists Association & Museum Gift of Mr. and Mrs. William P. Marin Edward Millman 1907–1964 Blue Incident, 1963 Oil on canvas, 3978⁄ x 60 in.

Woodstock Artists Association & Museum Gift of Norma Millman

Andrée Ruellan 1905–2006 Summer Flowers, c. 1960 Oil on canvas, 18½ x 13½ in.

Collection of Jennie and Daniel Gelfand Amy Small 1910–1997 Abstract, c. 1950 Welded steel, 35 x 9 x 31 in.

Collection of Elisabeth Small Hannah Small, 1903–1992 Figure Reclining, c. 1970 Cast plaster, 13 x 6 x 8 in.

Collection of Abigail Sturges Hannah Small 1903–1992 Standing Veiled Figure, c. 1970 Terracotta, 11 x 2½ x 5½ in.

Collection of Cornelia Seckel Hannah Small 1903–1992 Kneeling Woman, 1955 Marble, 18 x 7 x 8 in.

Collection of Elisabeth Small Bernard Steffen 1907–1980 Yellow Pink Green, 1970 Serigraph, 29 x 33 in.

Collection of Sue Lipkins and David Wiebe Betty Sturges 1913–2003 Gai, 1950 Pastel on paper, 9½ x 7¾ in.

Collection of Abigail Sturges Nancy Summers 1927–2018 Apple Tree, c. 1970 Linocut, 12 x 12 in.

Collection of Ian Angeloch John W. Taylor 1897–1983 Cathedral New Orleans, 1955 Gouache, 25¼ x 19 in.

Collection of Jennie and Daniel Gelfand

William Pachner 1915–2017 Self-Portrait with Window, 1987 Tempera on paper, 44 x 34 in.

Collection of the Pachner Family

James Turnbull 1909–1976 Fish Mobile, c. 1960 Welded polychrome steel, 33 x 14 x 7 in.

Collection of Carolyn P. and John H. Wilson

William Pachner 1915–2017 Scholar Reading, 1949 Ink on paper, 16 x 13 in.

Collection of Jency Elliott

James Turnbull 1909–1976 Fishes, c. 1965 Brazed brass, 16 x 9 x 78 in.

Collection of Peter Koch

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Reginald Wilson 1909–1993 Lemon and Glass, 1955 Serigraph, 8½ x 11½ in.

Collection of Maury Moncure

Manuel Komroff 1890–1974 Fugue, n.d.

Silver gelatin print, 7¾ x 9 58⁄ in.

Collection of Jean Young

Nathan Resnick 1910–1977 Ebb and Flow, n.d.

Silver gelatin print, 478⁄ x 678⁄ in.

Collection of Jean Young

Center for Photography at Woodstock

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 5 x 7 in.

Collection of Jean Young

Nathan Resnick 1910–1977 Light Flowers 1, n.d.

Silver gelatin print, 11 x 1378⁄ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 5 x 7 in.

Collection of Jean Young

Nathan Resnick 1910–1977 Light Flowers 2, n.d.

Silver gelatin print, 778⁄ x 9¾ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 338⁄ x 5 14⁄ in.

Collection of Jean Young

Nathan Resnick 1910–1977 Light Flowers 3, n.d.

Silver gelatin print, 778⁄ x 9 58⁄ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 478⁄ x 678⁄ in.

Collection of Jean Young

Nathan Resnick 1910–1977 The Edge of the Wind, n.d.

Silver gelatin print, 1378⁄ x 11 in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 4¾ x 678⁄ in.

Collection of Jean Young

Nathan Resnick 1910–1977 Theme and Variations, n.d.

Silver gelatin print, 1378⁄ x 11 in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 738⁄ x 978⁄ in.

Collection of Jean Young

Nathan Resnick 1910–1977 Theme and Variations, n.d.

Silver gelatin print, 5 18⁄ x 3 14⁄ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 5 x 7 in.

Collection of Jean Young

Nathan Resnick 1910–1977 Untitled, n.d.

Silver gelatin print, 778⁄ x 978⁄ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 7¾ x 978⁄ in.

Collection of Jean Young

Nathan Resnick 1910–1977 Untitled, n.d.

Silver gelatin print, 7 58⁄ x 9¾ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 10 x 7¾ in.

Collection of Jean Young

Nathan Resnick 1910–1977 Untitled, n.d.

Silver gelatin print, 40 x 26 in.

Collection of Jean Young

Konrad Cramer 1888–1963 Untitled (Sympalmagraph), n.d.

Silver gelatin print, 13½ x 1058⁄ in.

Collection of the James Cox Gallery at Woodstock

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 6 14⁄ x 4½ in.

Collection of Jean Young

Nathan Resnick 1910–1977 Untitled, n.d.

Silver gelatin print, 7¾ x 9 14⁄ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Anatomy, n.d.

Silver gelatin print, 10¾ x 13¾ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled n.d.

Silver gelatin print, 5 14⁄ x 434⁄ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Crackle, n.d.

Silver gelatin print, 10¾ x 1358⁄ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Untitled, n.d.

Silver gelatin print, 10½ x 13½ in.

Collection of Jean Young

Manuel Komroff 1890–1974 Form Drama, 1959 Silver gelatin print, 11 x 14 in.

Collection of Jean Young

Nathan Resnick 1910–1977 Aspiration, n.d.

Silver gelatin print, 14 x 978⁄ in.

Collection of Jean Young

Konrad Cramer 1888–1963 Abyss II, 1961 Silver gelatin print, 9131⁄ 6 x 7111⁄ 6 in.

Collection of the James Cox Gallery at Woodstock Konrad Cramer 1888–1963 Composition (#17), n.d.

Silver gelatin print, 9¾ x 758⁄ in.

Collection of the James Cox Gallery at Woodstock Konrad Cramer 1888–1963 Still Life with Fans, n.d.

Silver gelatin print, 3¾ x 5 in.

Collection of Jean Young Konrad Cramer 1888–1963 Tempest, n.d.

Silver gelatin print, 9¾ x 778⁄ in.

Collection of the James Cox Gallery at Woodstock Konrad Cramer 1888–1963 Untitled , n.d.

Silver gelatin print, 378⁄ x 478⁄ in.

Collection of the James Cox Gallery at Woodstock Konrad Cramer 1888–1963 Untitled (Sympalmagraph), n.d.

Silver gelatin print, 938⁄ x 714⁄ in.

Collection of Jean Young Konrad Cramer 1888–1963 Untitled (Sympalmagraph), n.d.

Silver gelatin print, 9¾ x 778⁄ in.

Collection of the James Cox Gallery at Woodstock

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