Summer 2017 Art Exhibitions
Florence Griswold Museum – Old Lyme
Flora/Fauna: The Naturalist Impulse in American Art
June 3 – September 17, 2017
First Impressions: Master Drawings from the Lyman Allyn Collection
June 17 – October 1, 2017
Weir Farm National Historic Site – Wilton
Weir Farm and Beyond: The Art of Sperry Andrews
May 3 – Oct 31
Photo Ceramics by Xiomáro: An Homage to J. Alden Weir and the Tile Club
May 3 – Oct 31
Fall 2017 Art Exhibitions
George Wharton Edwards (1859-1950): Illustrator, Painter, Writer
August 5, 2017 – November 25, 2017
The show features more than thirty paintings, drawings and sketches that spotlight the art of George Wharton Edwards, a turn-of-the-century painter, illustrator and author who lived in Greenwich. Edwards was celebrated in his own day as a talented artist for his depictions of picturesque American and European scenes in a variety of media.
Born in Fair Haven, Connecticut, Edwards grew up drawing on makeshift canvases—façades of barns, stone well-curbs, and wooden doghouses—before he moved to France in the early 1880s to study with the academic painter, Jacques-Eugène Feyen (1815-1908). From Paris, Edwards frequently traveled to other major cities to paint and sketch. In 1884, he returned to the United States and eventually settled in Greenwich, CT, where he often revisited his European architectural drawings of Belgium, England, France, and Italy, as source material for the books he wrote and illustrated, such as Vanished Halls and Cathedrals of France (1917). By the early twentieth century, Edwards became close friends with the American Impressionists associated with the Cos Cob Art Colony and the Greenwich Society of Artists. He was a founding member and long-time secretary for the latter.
The exhibition George Wharton Edwards (1859-1950): Illustrator, Painter, Writer is supported by The Charles M. and Deborah G. Royce Exhibition Fund and the Connecticut Office of the Arts.
The Bruce Museum is open Tuesday through Sunday, 10 am – 5 pm, at One Museum Drive, Greenwich, CT 06830. For more information, visit brucemuseum.org or call 203-869-0376.
September 10 – December 3
Original fine prints by Jack Beal, Janet Fish, Sondra Freckelton, Jane E. Goldman, Daniel Lang, Nancy Lasar, Katja Oxman, and Richard Treaster.
Still Life presents a variety of techniques including etchings, aquatints, lithographs, monoprints, screenprints, and hand painted archival pigment prints, highlighting the intricacy and beauty of this densely orchestrated genre. Stewart & Stewart, a printer and publisher of fine art prints in Bloomfield Hills, Michigan, will loan a number of original prints to this exhibition.
Richard Lytle: A Retrospective
September 14, 2017 – February 3, 2018
Richard Lytle (American, b. 1935) has been exhibiting his work internationally since the mid-1950s. Mastery of color is a hallmark of Lytle’s work, which ranges from realist to abstraction, and which has always found its inspiration in the organic world. His dreamlike images move across spaces suggestive of landscapes often in joyful biomorphic abstraction. Some works focus on plants and natural shapes that are magnified beyond recognition, while others include elements clearly chosen by the artist for their sensuous colors and patterning.
This exhibition includes early charcoal drawings from the 1960s Nude Figures Series, a selection of Pod Series drawings from the 1970s, as well as watercolors and large oil paintings spanning the breadth of Lytle’s career.
Picturing History: Ledger Drawings of the Plains Indians
In the second half of the nineteenth century, artists from the Plains Indian peoples (Lakota, Cheyenne, Arapaho and others dwelling in the Western United States and Canada) produced an extraordinarily rich and distinctive body of drawings chronicling battles, rituals, and winsome if sometimes jarring events of everyday life. Known as Ledger Drawings because they were done on the pages of commercially produced account books, these striking images, many bearing pictographic signatures, are executed in ink, graphite, and colored pencil and watercolor. Some favor flat, stylized forms and a stark economy of means, while others show a lyrical predilection for rhythmic movement, minute descriptive and narrative detail, and dense, mosaic-like surface patterns. What all share is their makers’ acute powers of observation and ambition to record and describe recognizable people, places, things and events—to eloquently picture and record history as it transpired.
Ledger Drawings are virtually unknown other than to a small group of specialists and cognoscenti, and with rare exceptions they have been studied foremost as anthropological and ethnographic documents rather than as artistic creations. Yet the medium—pencil and watercolor on paper—as well as the function and absorbing subject matter align these works with the western artistic tradition of drawing “stories” that began in Europe in the late 15th century and was part of American practice by the 18th century. The images find an equally resonant context in the venerable tradition of picture chronicles, which extends back even further in time, to the Middle Ages and earlier. Featuring some fifty Ledger Drawings, this exhibition presents these evocative works as graphic masterpieces in the long and rich history of drawing.
Generous support for the exhibition and related programs is provided by Donald Ellis Gallery.
This fall (September 30, 2017—January 28, 2018), the Florence Griswold Museum offers three exhibitions that examine social consciousness and community participation.
To commemorate the centennial of America’s participation in the Great War, World War I and the Lyme Art Colony illuminates the significant role played by artists with ties to Connecticut in mobilizing public sentiment for America’s entry into the war.
Oscar Fehrer: Reflecting and Reflections is a retrospective that considers the trajectory of the artist’s development against the social context of an anxious America during WWI, the reverberations of war and identity politics in a tight-knit community, and Fehrer’s aesthetic reaction to the art world’s upheaval due to the rise of modernism.
Contemporary photographer Pola Esther presents A Room of Her Own (Ballad of Ruth Coxe), an exhibition of photographs and installation elements that conjure this complex and unconventional woman. Coxe, who died at age 85 in 2015, was an embattled figure who clashed with others on politics, feminism, and religion.
An American Odyssey: The Jewish Experience in Greenwich
November 15, 2017 – April 15, 2018
Exploring the history of the Jewish community in Greenwich, CT within the broader context of the history of the town and the nation, this exhibit will look at how Jewish families have contributed to the larger community for more than a century despite experiencing periods of discrimination and restrictions on worship, employment and housing. The stories of those who sought to build new lives here will be told through photographs, artifacts, archival documents, ephemera, and first-person accounts. The exhibition will also explore the little-known fact that there were Jewish property owners in Greenwich as far back as Colonial times. Although much of the growth of Greenwich’s Jewish community began in the 1960s (today about 11 percent of the population is Jewish), the tale begins with the mass exodus of Jews from Eastern Europe to America between 1880 and 1920.
Harry Everett Townsend: Illustrations of a World War I Artist
September 20, 2017–January 07, 2018
Commemorating the centenary of America’s entry into World War I, the New Britain Museum of American Art is thrilled to present this exhibition in collaboration with the Connecticut State Library, Hartford, and the New Britain Industrial Museum. It marks the inaugural showing of the NBMAA’s historical and rare collection of Harry Everett Townsend’s World War I illustrations. Townsend, one of eight official combat artists commissioned by the American Expeditionary Force, depicted the rigors of war and the advent of industrial combat.
Sublime North: Romantic Painters Discover Norway
Paintings from the Collection of Asbjørn Lunde
September 7 – January 15, 2018
The Wadsworth Atheneum will present for the first time an exhibition focused on the leading figures of 19th-century Norwegian landscape painting: Christian Dahl, Thomas Fearnley, and Peder Balke. Sublime North: Romantic Painters Discover Norway will explore their awe inspiring talents as landscape painters, trail their careers across Europe and compare their works with other contemporaneous European and American artists.
Landscape painting during the Romantic era was fueled by the concept of the sublime—renewed reverence for nature and its influence on emotion and the imagination. Together with his pupils Fearnley and Balke, Dahl infused Nordic fjords, craggy mountains, and rivers with the established repertoire of Romantic motifs—rocky inlets, misty hills, and contemplating wonderers. Fearnley’s powerful scenes are distinguished by sensitive effects of light, while Balke specialized in highly dramatic seascapes that foreshadow the abstraction of Modern art. These artists experimented with open-air oil studies, which, when combined with dramatic imaginary views, produced fresh interpretations of the rough and imposing Norwegian landscape.
The exhibition will complement the Wadsworth Atheneum’s celebrated collection of landscape paintings, creating a dialogue with works of well-known artists such as Thomas Cole, Jean-Baptiste-Camille Corot and William Turner, and highlighting the dynamic development in landscape painting during the 19th century.
Marking 35 Years: The Work of Deborah Dancy
August 31 – October 15, 2017
A retrospective exhibition. Recently retired from the University, Deborah Dancy was on the faculty in the Department of Art and Art History at the University of Connecticut since 1981. Deborah Dancy is a painter whose abstract work describes odd invented spaces and stacked structures. Subtle tonalities and fragmented lines become descriptive markers in work that suggests familiar yet ambiguous spaces. Dancy works in a variety of mediums, large-scale oil paintings, mixed media on paper, printmaking and artists’ books. She has received a number of significant honors and awards, including: a John Simon Guggenheim Foundation Fellowship, Connecticut Commission of the Arts Artist Grant, New England Foundation for the Arts/NEA Individual Artist Grant, Nexus Press Artist Book Project Award, Visual Studies Artist Book Project Residency Grant, The American Antiquarian Society’s William Randolph Hearst Fellowship, YADDO Fellow, and Women’s Studio Workshop Residency Grants and a Connecticut Book Award Illustration Nominee for her mixed media work in the book, The Freedom Business.
She has exhibited in numerous museums and galleries and her work is represented by Sears-Peyton Gallery, New York, and N’Namdi Contemporary, Miami.
For more information about Deborah, visit http://www.deborahdancy.com.
Unfiltered: An Exhibition About Water
August 31 – December 17, 2017
Unfiltered explores water as a universal concern and which touches specifically on the themes of: the power of water and the changing landscape; water pollution and biology; water scarcity; climate change; the physical properties of water; and the Connecticut River. The exhibition attempts to place on view works of art which provide visual launching points for discussions about these important water-based issues.
The following artists are included in this exhibition: contemporary artists Diana Barker Price; Will Sillin; Leif Nilsson; Stacy Levy; Ravi Agarwal; Vibha Galhotra; Kate Cordsen; Susan Hoffman Fishman; Jamie Murphy; and Michael Singer as well as nineteenth- and early twentieth-century artists: Lionel Feininger; Frederick Judd Waugh; Reginald Marsh; Arthur B. Davies; Gerrit Hondius; Martin Johnson Heade; Fairfield Porter; Maurice Prendergast; Henry Ward Ranger; and Robert Motherwell.
A portion of this exhibition will travel to the University of Connecticut regional campuses in Avery Point, Groton, and UConn Stamford.
This exhibition is organized in collaboration with the departments of Natural Resources and the Environment; Civil and Environmental Engineering; and Marine Sciences; Institute of Water Resources; as well as the CLEAR, CT Sea Grant, and CT NEMO Programs at the University of Connecticut, Storrs.
From Old Masters to Revolutionaries: Five Centuries of the Benton’s Best
An ongoing exhibition of works from the permanent collection
The Benton is pleased to present a changing selection of its most prized possessions that span five centuries. We begin with a sixteenth-century double portrait by the Spanish court painter Alonso Snchez Coello, whose unidentified subjects are a well-dressed noblewoman and child. Also featured is another image of maternal affection in the work Woman and Child by the American impressionist Mary Cassatt. More contemporaneously is Dorothea Lange’s Migrant Mother (Nipomo, California), an iconic photograph from America’s Dust Bowl era that captures the hardships of the time.
In addition to portraiture, the exhibition includes examples of landscape painting, religious imagery, and genre scenes. Of particular note is Gabrielle Münter’s Fabrik, an excellent example of German Exrpessionism, Rye Beach, New Hampshireby Martin Johnson Heade, as well more recent contributions by the twentieth-century American Ansel Adams.
No exhibition of the Benton’s best would be complete without the work of Reginald Marsh, an American painter, printmaker, and illustrator who graduated from Yale with his good friend William Benton. A large-scale oil painting, along with Marsh’s preparatory sketches, are featured in this exhibition.
“Things of Beauty Growing”: British Studio Pottery
September 14–December 3, 2017
This fall, the Yale Center for British Art will present the first major survey of British studio pottery ever organized in the United States. Bringing together nearly 150 ceramic objects—including vases, bowls, chargers, and monumental forms, as well as a range of historic works from China, Japan, and Korea—“Things of Beauty Growing”: British Studio Pottery will trace the evolution of the vessel form, which has defined the ceramic medium from the turn of the twentieth century to the present. This exhibition will demonstrate that the story of studio pottery is a global one—as these pots and potters have travelled between England, continental Europe, Asia, Africa, and beyond. It will also underline that studio pottery is an ongoing practice, and the display will include works created especially for the occasion by contemporary makers, as well as drawing from distinguished private and public collections in the United States and the United Kingdom.
“Drink That You May Live”: Ancient Glass from the Yale University Art Gallery
August 4 – November 12, 2017