ism of the week - week 6

Each week during our current exhibition, ...isms: Unlocking Art's Mysteries, we will post deeper insight into one of the paintings on view. Past the credit line, past the exhibition label, Assistant Curator Amanda Burdan shares her thoughts:

This image of a laborer was one of several portraits of working class men and women Walker Evans made on a trip to Cuba in 1933. Commissioned to photograph Machado-era Cuba for Carleton Beals’ book The Crime of Cuba, Evans went about his assignment without a specific political agenda. In later years he insisted he had not read the manuscript for the book prior to his trip and went with an open mind to photograph Cuba and its people as he experienced them. A mix of tight portraits, like this one, and scenes capturing both the streets of Havana and the surrounding villages, the resulting portfolio of thirty-one images has since become more widely known than the book they illustrated.

This assignment predates Evans’ work for the Farm Security Administration, but also foreshadows the kind of imagery he, and other so-called “information specialists” working for the United States government, would gather throughout the Depression. Evans’ respectful approach to this coal dock worker trained him for documenting the impoverished conditions of sharecroppers and tenant farmers in this country only a few years later. Evans allows the man’s tanned and leathery skin and bristly beard to narrate the story of the long hours he spent toiling in the Cuban summer sun. In many ways, he does the same in his later photographs of sharecroppers who appear hard-working and noble despite their tattered clothing and dirty faces.

Walker Evans
Dockworker, Havana, 1933

Gelatin silver print

Florence Griswold Museum

ism of the week - week 4

Each week during our current exhibition, ...isms: Unlocking Art's Mysteries, we will post deeper insight into one of the paintings on view. Past the credit line, past the exhibition label, Assistant Curator Amanda Burdan shares her thoughts:

Elmer MacRae’s Still Life with Magnolias is among the newest paintings in the Florence Griswold Museum’s collection. This modern looking painting may seem like a surprising choice for the collection given that MacRae is an important Impressionist from the Cos Cob art colony. He is, perhaps, even more important to the overall history of American art for the work he did as a member of the American Association of Painters and Sculptors, the group that organized and mounted the 1913 International Exhibition of Modern Art, better known as the Armory Show. That pivotal exhibition helped to introduce American audiences to a broad range of the modern styles coming out of Europe. MacRae submitted Impressionist styled works to that exhibition, but soon after came under the influence of the twentieth-century Europeans, updating his style.

This still life, painted two years after the Armory Show moves away from the sketch-like images of his Impressionist years, substituting in bold brush strokes to represent the vase, flowers, and especially the patterned background. MacRae takes a step toward Modernism with the abstract qualities of the work—a radical move for a young American at the time, but he may appear to our eyes to remain conservative in his choice of subject matter. In fact, Modernists like Paul Cézanne and Pablo Picasso embraced the simple still life as a vehicle for their more groundbreaking experiments in style.

Elmer Livingston MacRae (1875–1953)

Still Life with Magnolias, 1915

Oil on canvas
Florence Griswold Museum

Museum purchase

ism of the week - week 3

Each week during our current exhibition, ...isms: Unlocking Art's Mysteries, we will post deeper insight into one of the paintings on view. Past the credit line, past the exhibition label, Assistant Curator Amanda Burdan shares her thoughts:

Instrumental in many ways to the establishment of abstract art in the United States, Harry Holtzman is best remembered today for his close friendship with and writing about Piet Mondrian. Holtzman’s colleague, the abstract artist Burgoyne Diller, proved pivotal to his future as an artist. Diller introduced Holtzman to the Gallatin Collection at New York University where Holtzman first encountered Mondrian’s work. Though he had not seen Mondrian’s paintings before, Holtzman had been working in a similar geometric style. Intrigued to the point of obsession, Holtzman traveled to Paris in 1934, intent on meeting Mondrian.

By 1934 Mondrian had firmly established his Neo-Plasticism, an entirely abstract style made up—in its ultimate form—strictly of horizontal and vertical lines and primary colors. Mondrian was beginning to experiment with three-dimensional interpretations of his iconic style. The two men shared theories of art and parted as friends when Holtzman returned to the United States the following spring.

Holtzman continued to be active in the New York art world, teaching classes at European modernist Hans Hoffman’s school. He, along with other advanced artists of the period founded the American Abstract Artists group in 1937, to further the cause of abstraction in this country. During the Depression Holtzman also worked as an administrator for the mural painting division of the Federal Art Program, a branch of the Works Progress Administration. In 1940, Holtzman sponsored Mondrian’s immigration to the United States, supporting the artist through the last four years of his life. Mondrian passed away, naming Holtzman as the sole heir to his estate, the administration of which consumed much of his time. The lifelong project of publishing Mondrian’s complete writings only came to fruition months before Holtzman’s death in 1987.

A recent acquisition to the Museum's collection---
Harry Holtzman (1912–1987)
Red, Orange, Green and Yellow
Oil on canvas
Florence Griswold Museum
Museum purchase, Alice Talcott Enders Purchase Fund

ism of the Week - week 2

Each week during our current exhibition, ...isms: Unlocking Art's Mysteries, we will post deeper insight into one of the paintings on view. Past the credit line, past the exhibition label, Assistant Curator Amanda Burdan shares her thoughts:

In the first week of our Winter Studies class we talked about the peculiar case of “Luminism,” an “ism” that was invented a century after the Luminist painters worked. One of the paintings in the Luminist section of the current exhibition is John F. Kensett’s Fort Dumpling, although this particular work, like many others in the exhibition, might have been comfortably situated in other sections of the exhibition. Kensett is typically known as a Hudson River School painter, creating landscapes that romanticized American scenery. Hudson River School artists were highly skilled technicians who rendered their paintings with a high degree of finish and detail. Other Hudson River School paintings appear in the “Romanticism” section of the exhibition.

The Luminist painters were noted for their somewhat “quieter” scenes that lacked the drama and bravado of the Hudson River School works. Luminists also painted with virtuoso brushwork and crystalline details, but their compositions frequently felt simplified, or even empty. Fort Dumpling gives us a vast expanse of sky and sea along with the silhouette of the hilltop fort. Although the nominal subject is the fort, the glowing sunset helps us understand how the Luminist movement acquired its name.

Kensett’s Fort Dumpling would have been equally at home in the “Historicism” section of the exhibition. The fort itself is an interesting landmark that stands at the entrance to Narragansett Bay in Jamestown, Rhode Island. A strategic location for control of the Bay, the fort was occupied by American, French, and British troops during the American Revolution. By the time Kensett painted it, nearly a hundred years after the British evacuated Newport, the site was a romantic reminder of the bygone Revolutionary era.

John Frederick Kensett (1818–1872)

Fort Dumpling, ca. 1871

Oil on canvas
Florence Griswold Museum

Gift of The Hartford Steam Boiler Inspection and Insurance Company

ism of the Week - week 1

Each week during our current exhibition, ...isms: Unlocking Art's Mysteries, we will post deeper insight into one of the paintings on view. Past the credit line, past the exhibition label, Assistant Curator Amanda Burdan shares her thoughts:

Stephen Howard’s painting Judge Marvin’s Barn draws attention to an ancient building in Lyme. The Marvin homestead was the subject of a feature article in the New London Day in 1937, shortly before Howard moved to Lyme, celebrating the many generations of Marvins who had lived there since it was built in 1788. Located on Nickerson Hill, the highest elevation in all of New London County, the farm was said to have been visited by President Andrew Jackson, who stopped to water his horses after crossing the Connecticut River on Ely’s ferry.

Although this painting appears in the exhibition in a section on Regionalism, the attention to a local historic property also shares some of the sensibilities of Historicism. By looking back from his twentieth century point of view, Howard suggests a nostalgia for a New England of the past, of which the Marvin farm was emblematic. Rather than rendering the barn as it might have looked in a bygone era, Howard’s realism offers a dilapidated structure and an ominous sky. The implied elegy for colonial days and agrarian ways was not uncommon for artists during the Great Depression.

Stephen Howard (1912–2010)

Judge Marvin’s Barn

Oil on canvas
Florence Griswold Museum

Gift of Mrs. Janet C. Davis in honor of the Centennial

Memories of a Memoir Class

This blog entry was written by Katherine Catalano of Old Lyme about her experience in the Memoir Class taught by Sue Levine and Lary Bloom last fall.

Read examples of students' work and learn about spring class at http://www.florencegriswoldmuseum.org/MemoirClass.php.

The Florence Griswold Museum was full of surprises this fall. While a fantasy birdhouse exhibit was in place on the grounds, a memoir writing class taught by local professionals Lary Bloom and Suzanne Levine was underway in one of the gracious side rooms in the museum.

I had taken a six week memoir writing class with Lary and Suzanne last spring at R.J.Julia’s in Madison. Like most scribblers, I had been writing for pleasure since the Dear Diary days of adolescence. Now, my friends seemed to enjoy the book and movie reviews I email them when I think they would enjoy something I read or saw. I write poems and short essays about experiences with family and observations of Nature.
I told myself that I didn’t care if anything I wrote was ever published, but that wasn’t true.

I was simply unsure if I had any real talent, and knew I needed professional guidance to know if I should even attempt to submit a piece for publication in a magazine or literary review that I liked.

That first course in Madison with Lary and Suzanne was encouraging. Some of my pieces were just flat, and some were riddled with adjectives and clever sentences stuck in just because I liked them. “Darlings,” is what Lary and Suzanne called the latter, and they gotta go.

Some of my pieces were pretty well received, but I felt I was just warming up in those six weeks, so when I saw that Lary and Suzanne were teaching the memoir class at the Florence Griswold Museum, I called immediately to sign on. This time for eight weeks. The work was more demanding. My confidence grew, and I saw myself beginning to get control of my writing and to understand the discipline of the “craft.” I was better able to stay within the word limits of the assignments on scene setting, character description, dialogue—all the aspects of good prose.

Reading my pieces to the class was the first test. The comments by my fellows were honest, and even the criticism was kind. If there was a look of “huh?” on anyone’s face I knew I’d missed the mark. One piece had them laughing out loud, though. Heady stuff.

We handed in our assignments each week to Lary and Suzanne for their close reading and critique. The following week we got them back with their assessment of the piece in general, and detailed suggestions for revision. Suzanne put little check marks on paragraphs she liked. I looked for those first.

I wrote a practice query letter to a publication I hoped would be interested in my work based on my persuasive introduction. My letter lavishly praised the publication, leaving little room on one page for anything about my submission. I’ll have to work on that.

I’ll have to work on everything, (Lary says he goes back to an article eleven times to keep polishing it), but I move forward now with confidence that I can and will submit my work for publication. Even a rejection would mean that some editor actually read it.

The criticism, pro or con, by teachers and fellow students was invaluable to my development as a writer, and I was sorry to see the class end.

My writing craft moved up a notch or two, and because this was a memoir class, fourteen strangers got to know each other pretty well in a short time.

As I looked around the room the last day, remembering the tragic, dramatic, beloved, and hilarious contributions of my fellows, I realized that there is no such thing as an ordinary life, not even my own.

Reestablishing the Woodhead Memorial Garden

A handsome flat stone of Vermont Granite was installed on April 14, 2011 in a newly re-established memorial garden to the north of the Florence Griswold House. The garden honors the legacy of Daniel Woodhead, Jr.  Surrounded by thousands of yellow and white daffodils planted by Rob Wilbur of Wilbur and King, the stone is positioned in a stand amongst three maples. Designed by Mary Ann Besier and Ruth Baxter of Rumney and Associates, the slab was ordered, cut, scribed and delivered through the conscientious efforts of Joe Fulton of Shoreline Memorials.

Daniel Woodhead, Jr. (1911-1978), a retired business leader from Winnetka, Illinois whose family had roots in Old Lyme, guided the Florence Griswold Museum as its President from 1974 until 1978.  He hired Jeffrey Andersen as director in 1976 and shortly thereafter led the Museum in establishing its first Endowment Fund, which he generously supported.  His tenure as President was cut short by his unexpected death on June 18, 1978.  Many members admired his leadership and gave funds to establish the Woodhead Memorial Garden on the north side of the Florence Griswold House.  Designed by his successor, Dr. George B. Tatum, a distinguished architectural historian, the garden consisted of a rectangular space with a yew hedge that was intended to function as an out-of-door “room” for meetings during the summer.  Unfortunately, every winter deer ravaged the hedges and inadequate sunlight meant that they never matured satisfactorily.  In the 1990s the hedges were removed and, thanks to the acquisition of additional property between the Museum and the Bee and Thistle Inn, the area was opened up and returned to a more natural state.

Now, many years later, the Museum is re-designating this attractive open space as the Woodhead Memorial Garden. Thousands of daffodils bloom there each spring.  This highly visible area brings joy to visitors, residents, and even passers-by that drive by on a daily basis. 

Eaton and the Reverence of Nature

This post was written by Charles Clark, whose Charles Eaton painting, Evening Quiet, is featured in the current exhibition Connecticut Treasures: Works from Private Collections. The work is a promised bequest to the Museum. We thank him for sharing his thoughts with us!

For the last thirty years I’ve been researching and writing about Connecticut artists who were in their day famous but owing to shifts of taste became, or remain, obscure. Threats to Connecticut’s beautiful countryside drove me first to landscape painters like Charles Warren Eaton, but recently I’ve become interested in contemporary artists like Norman Ives, a graphic designer, painter, and printmaker, who worked with abstracted type forms, and who lived and worked in the New Haven area.

My great-grandparents were patrons of Eaton’s and all my relatives had his paintings and drawings hanging on their walls. This is how I first saw his work. From 1900 to about 1910, Eaton gained fame as the “Pine Tree Painter,” the sole artist to record the white pine forests that were so common across the Northeast at that time. These are the paintings he is best known for today.

When I was a boy, paintings like Evening Quiet, a good example of the pine tree genre, struck me for their mystery, their peacefulness, and their rich glow. They didn’t look like anything else, and as I learned more about Eaton, and wrote about him, I realized we were bound by a love of the New England landscape and an absolute reverence for trees (a critic once commented on the unvarying beauty of Eaton’s trees – whether he painted in Connecticut, or Belgium, or Italy, here was an artist who knew nature and whose landscapes are more than an assembling of natural forms.) That he read Emerson and Thoreau comes as no surprise.

As a little jest, but in truth, sincerely, I once told a friend that after a bad day, as a form of meditation, I’d “take little walks in these paintings.” Art not only amuses and pleases, and shocks, but can edify and even console. Rather than announce “look at me, aren’t I pretty,” paintings like Evening Quiet quietly establish a rapport with the viewer. They are antidotes to this noisy age, evidence that, upon reflection on the timeless beauty of nature, mankind can, with any luck, live a life of modesty.

Planting The Museum's Cornfield

One of the things I love about being a summer intern here at the Florence Griswold Museum is that my days are often filled with surprises-

everything from noticing something new in a painting thanks to a second grader to planting a cornfield! Only a couple of weeks ago on June eighth, I found myself out behind the Museum's garden helping to plant several hundred Indian corn seeds along with fellow co-workers Ted, Randy and Matt F. But why would an art museum plant a field of corn you may be asking yourself.

No, the museum is not establishing a farm to grow vegetables for Café Flo (Indian corn is purely a decorative variety of corn). Instead, the plantin

g was part of the many preparations that we are making for the exciting Harvestime festival at the museum in October. After the grand success of the Wee Faerie Village, David Rau the director of education and outreach at the museum has developed a similar concept for the museum grounds that will engage the creativity of local artists once again. No crows will dare to touch our precious cornfield thanks to the over two dozen scarecrows created by local artists inspired by famous artists from around the world and though out history which will dot the grounds for the month of October. These scarecrows will come in all shapes, sizes, colors, patterns and designs. On your journey around the grounds you will run into all sorts of characters- anyone from Picasso to Georgia O’Keeffe to Childe Hassam. H

owever, even an incredible scarecrow exhibit such as this is incomplete without a cornfield! And it looks like our field is off to a good start; after only two weeks the corn is already around 11 inches tall and is flourishing because of all of the rain and hot weather we have been having. Please feel free to come by and check on the progress of our cornfield throughout the summer when you come to visit the museum. The field is now nicely marked with a sign featuring Van Scarecrow, our very own scarecrow mascot. (Here my fellow intern Ian is posing with the newly installed sign.)

The cornfield will be featured in one of the exciting activities planned for the scarecrow exhibition; guests will be able to pose in scarecrow costumes in front of the hopefully very tall cornfield (the plants are supposed to get to 8 feet by the end of the summer). The museum will be hosting lots of other special events including Not-So-Very-Scary Nighttime tours of the scarecrows as well as pumpkin carving and scavenger hunts. In the meantime, I will be reporting every once and a while about how our corn is shaping up. Stay tuned for the next step- thinning the corn. At this point, it looks like the corn might be knee high by the fourth of July!

(Below is an updated photo of the corn taken on June 24th)

Bringing an exhibit to life

{Tula Telfair and museum staff prepare to hang one of Telfair's landscapes in the Smith Gallery}.

A certain hushed formality is a given in most museums. Such an atmosphere seems fitting for spaces devoted to the display of meaningful works of art. However, as these photos prove, the last days leading up to a well-curated exhibit are anything but hushed or formal!

Yesterday, artist/curator Tula Telfair and the rest of the museum staff got down to work installing paintings in preparation for this weekend's opening, Landscapes in Counterpoint. Gallery walls are often repainted to complement a new exhibit. In this case, Telfair elected to re-use the soft gray hues that provided the backdrop for the previous installation, Sewell Sillman's Pushing Limits. After the walls dry, the art is hung with painstaking care, and finally, text labels are added next to each piece.

These images also give viewers an idea of the true scale of Telfair's dramatic landscapes.  Below, a glimpse of Curators Amy Kurtz Lansing and Amanda Burdan, and Museum Director Jeff Anderson, working with Telfair's Most Approaches Suffer from the Predictable Isolation of Schools.

             

"Red on Edge": Tell + Show Gallery Discussion

Discover Simple, Private Sharing at Drop.io

Discover Simple, Private Sharing at Drop.io

Discover Simple, Private Sharing at Drop.io

The Krieble Gallery was transformed into an experiential learning lab on Sunday, for the first in a series of gallery talks devoted to exploring Sewell Sillman's modernist approaches to the treatment of color, line, and time. In "Red on Edge", Amanda Burdan, the curator for the newly-opened Sewell Sillman exhibition Pushing Limits, gave an engaging lecture on how Sillman's artistic practices drew on the radical ideas behind modernist color theory. Attendees had the opportunity to see firsthand how these techniques influenced the art on display in the gallery, and even got a peek at works that are not a part of the exhibition.

The next interactive gallery discussion, titled "Reflecting on a Line," will be held on Sunday, March 7 at 2 p.m. Expect to discover some surprises hidden within the pages of Sillman's personal sketchbooks, which help tell the story of how he developed his unique drawing style!

Opening for Sewell Sillman: Pushing Limits

What a wonderful start to the exhibition! Over 300 people attended the opening of Sewell Sillman: Pushing Limits. The Museum was so fortunate to have Jim McNair and all the people who made the exhibition possible in one place. Read more about the exhibition...

Getting inside the mind of an artist

If you're curious about the creative process, a peek at an artist's personal sketchbooks (Sewell Sillman's are pictured at left) can be a guilty pleasure. But what about the problem-solving, and exploration of new techniques, that lie at the heart of that process? To answer those questions, the museum will be hosting a series of experiential art labs and gallery talks inspired by Sillman's own creative process, aimed at allowing participants to really dive in and gain an understanding of the techniques he applied over the course of his career. Using his own fine art portfolios and personal sketchbooks as hands-on inspiration, Tell & Show gallery talks will stimulate discussion about how he tackled the problems of color, line, and time. In addition, two series of art labs, one geared to children and the other to adults, will set up drawing and painting exercises as a way to play with the techniques Sillman himself used.

These Sunday activities are free with museum admission. Read more about them here, and then get your creative juices flowing with a visit to the exhibit and an afternoon of artistic exploration!

Another Sillman sneak peek

Have you ever wondered how a museum exhibition goes from an idea to a finished product – practically a work of art in its’ own right? Last week, I got a sneak peek into that process, as preparations shifted into high gear for the Sewell Sillman opening. Amanda Burdan, the exhibit’s curator, introduced me to the model of the Krieble Galleries that she used to design the exhibit. This dollhouse-sized version of the museum is pictured in the photo. You can see the scaled model art on the walls and floor, which Amanda could easily move around as she planned the best way to display Sillman's works.

Over the course of his career, Sillman produced screen prints, oil paintings, and watercolors, in addition to working with textiles, relief sculpture, and collage. It can be a challenge to find the best way to display such a wide variety of artwork, but it's also a great opportunity to engage the viewer by customizing the exhibit into a flow that maximizes the visual impact of Sillman's works. 

The art has arrived!

Yesterday, some extremely good luck got sprinkled on this writer, the newbie in marketing. (Maybe it was pixie dust left over from the Wee Faerie exhibit!) I got the chance to hang out with Amanda Burdan, the curator in charge of the new Sewell Sillman exhibition, Pushing Limits, as she unpacked Sillman's works in the exhibition prep area. In the photo above, I caught Amanda carrying one of Sillman's pieces past the long line of metal display racks where the rest of the museum's permanent collection is housed. 

Various pieces of Sillman’s were scattered across a large table: a pile of beautiful, worn sketchbooks; pillows and textiles printed with his signature abstract, wavy lines; a huge piece of limestone with lines carved across the block. I have never been up close and personal with art in this way before. I had the chance to bend over the stone and examine the rough edges of the carving, and saw Sillman’s scribbles and doodles flash past my eyes as Amanda thumbed through the worn pages of his sketchbooks. It was totally magical to be able to move among the pieces of his life’s work, and to see them just as they might have been lying out in his studio. This is an exciting exhibit for the museum, too, being the first devoted exclusively to the work of a contemporary artist. 

As someone who regularly gravitates to the Renaissance and Impressionist galleries in any museum, yesterday evoked a new sense of connection and excitement about modern art. It was heightened by the thrill of getting to play art historian and examine Sillman's work in a much more personal way than my typical experiences as a visitor to formal museum exhibits has allowed. Next week I'll post a few more sneak peeks as the museum gears up for the opening of Pushing Limits on Friday, February 12.

MISS FLORENCE’S GARDEN ARBOR

The Museum is pleased to announce a new addition to its landscape – a beautifully crafted garden arbor that recreates a prominent historical feature of Miss Florence’s perennial garden during the days of the art colony. The new arbor was a project of the Museum’s Buildings and Grounds Committee chaired by Curly Lieber. Constructed of cedar and stained white, it was expertly installed by Bogaert Construction of Essex on January 4, 2010 against the backdrop of a pristine snow-covered garden. All parties concerned are very pleased with the outcome. We invite visitors to take a look at it on their next visit to the Florence Griswold Museum.

The idea of replicating the arbor has long been a goal of the Museum. A film from the 1920s shows Miss Florence walking toward the camera and passing under an arbor in the garden. Stills from the film guided the Museum in developing custom designs to replicate its scale and design characteristics. The arbor consists of four columns connected by a canopy of wooden lintels. At the Museum’s Annual Benefit in September 2008, money was raised from our patrons for this purpose. In 2009, the Museum commissioned Bogaert Construction to carry out this project, with the expectation that the arbor would be erected by the end of the year. Special thanks to Bruce Lawrence, John Bogaert, Paul Deckelman (Lead Carpenter) and Kevin Wakelee for their work on the arbor, and to trustee Chad Floyd and garden historian Sheila Wertheimer for their advice and help in bringing this to realization. Sheila reports that climbing roses of an heirloom variety favored by Florence Griswold will soon be climbing along the arbor. Something to look forward to this summer!

Posted by:

Jeffrey Andersen Ted Gaffney
Director Facilities Manager

Faerie Illustrator

We thought you might like to hear from the creator of our faeries...the "faces" of our Village...Jeffrey Himmelman...

A few months ago my dad told me he was building a miniature fairy dwelling in his basement.

To most people this might sound a bit odd, but growing up with my dad, it wasn’t all that out of the ordinary. My dad writes and illustrates children’s books in addition to being a nature photographer and author. He’s just a really creative guy.

He told me all about the Wee Faerie Village exhibition in October, and I was very interested. He mentioned that David Rau, who was putting all this craziness together, found my portfolio linked on my dad’s website. David had worked with my dad in the past but didn’t know that his son was also an artist. He asked if I’d be interested in doing something for the exhibition. I was definitely on board.

I’m primarily a fantasy artist. I went through high school playing dungeons and dragons with my friends and doing other similarly geeky stuff, and now that I’m grown up I’m doing art for games. It’s a really fun field to work in and I consider myself pretty blessed to have been able to turn my hobby into my profession, even if I don’t have time to play games anymore.

David got in touch with me a short time later and told me he was interested in having me create a map and some promotional images. He invited me over to the museum (at the time I was living in New York), and so I took the trip. I spent the day learning about the history of the art colony, and taking tons of reference shots.

Over the next few months I did quite a few illustrations for the museum. I broke out some of my fairy art books for inspiration. Brian Froud and Tony Diterlizzi are some of my favorites. I was trying to convey a different personality into each of the faeries. The boy faerie (nicknamed Griswold) is kind of brash and adventurous, whereas the girl (as you may have guessed, her nickname is Florence) is more demure and playful.

The actual map was a bit outside of my comfort zone. It took much more collaboration and fine-tuning with David to get exactly what they were looking for. In the end however I think the map turned out well!

So there you have it: my experience helping to create the Wee Faerie Village. Thanks for reading, and I hope you’re looking forward to visiting the village as much as I am!

~Jeff Himmelman
Illustrator & Podcaster
Art: jeffreyhimmelman.com
Podcast: wippodcast.com

On being a Faerie Architect

This blog is by one of the Wee Faerie Village Architects, Lisa Kenyon. Everyone at the Museum is very excited about the start of the Village! Only three more weeks to go! If you haven't taken a look at all the wonderful special events planned, check them out now. The Village is open October 10 through November 1.

From Lisa....

Late summer is the perfect time to be creating a faerie dwelling. On routine walks through my neighborhood, I find beautiful wild flowers to dry, seed pods that can act as flowers in a faerie flower box and tons and tons of acorns that make great stone walls. It’s almost impossible to go anywhere without finding some natural object that might be useful if you were a three inch faerie.

My dwelling is going to sit in the middle of the vegetable garden otherwise known as Vegetable Valley. I decided early on that I would focus on the exterior so it could be viewed from all angles. My faerie, Iris, is the muse of Matilda Browne and I wanted to model the structure after her painting Saltbox by Moonlight. I am very grateful that my husband is much handier with a saw than I am because he made the concept come true. I will be using my various natural objects to adorn the house and it doesn’t stop there. A house must have a vegetable garden, some restful sitting areas and landscaping.

With just a few more weeks to wrap up, I am looking forward to the last minute treasures I will find on my walks. You never know what a sea shell, twig or flower might become to a faerie.

A note from the artist, Patrick Dougherty

The work is entitled The Rambles, and I am proud of the sculpture which resulted from my residency. With the museum's help, I was able to find and gather birch saplings from several sites around Old Lyme, CT and transport them to the museum. Volunteers removed the leaves from the branches and then proceeded to help with the weaving process. I use the infuriating tendency of branches to entangle with one another as my method of joining and then worked at a breakneck speed to complete the sculpture. The work, encased in scaffolding during its construction, provided working platforms but also aided in the bending and tying of the larger support saplings into the desired shape. Ultimately all strings were removed and the smaller saplings, which had been intertwined by volunteers, secured the work. I thought of the sculpture not only three dimensionally but also concentrated on the outer surface as a canvas on which to draw. Sticks are the material of bird nests, but they are also bundles of lines. All the drawing conventions used with paper and pencil still apply.

I was given a beautiful site—behind the museum, but still visible through the large window wall in the lobby-gift shop. All in all, visitors need only walk a short distance to enter and explore the work. The sculpture is sited to take advantage of the bucolic view of the Lieutenant River, a classic vista for the painters who visited Florence Griswold so long ago.

When I began to search for an image or a starting point to guide the creation of the work at the Florence Griswold Museum, I imagined the garden follies of previous eras. In the past, those who had means sometimes festooned their gardens with strange architecture and even built intentional ruins. These structures were meant to evoke mystery and stimulate a longing for bygone days. They offered a kind of poetic drama as nature reclaimed the manmade. I have been intrigued by ruins all over the world because vine cover, tree roots and unruly branches are often the first blush of architectural decay. For me it is like throwing a dust cloth over a piece of furniture which can obscure the detail but cannot deny the basic manmade form. With this in mind, I envisioned a kind of drapery for the museum's imaginary ruin—one with a 22' high round tower, a square tower and many architectural features in between. The viewers are invited in to explore the interior, to walk in some doors and peer around others. In The Rambles, the energy of the natural world seems frozen in the drawn surfaces as all the unassuming sticks gathered by the volunteers in the first few days take on presence and new meaning. With only a hint of underlying geometry, this backyard folly has no core of stone or wooden beams. As the scaffolding was removed on the final day, it was as if an insect chrysalis had finally opened and an enormous sapling slipcover had been shaken free and set out to dry.

Barn Restoration Project, Part V

On 13 May 09 John the KSR carpenter and Dave the electrician are on site. John is building the barn doors, and Dave and his helper are running conduit throughout the barn to support the overhead lighting and various outlets.

On 14 May 09, the roofers arrive to begin putting on the metal roof. Although it is made of Copper, it is coated with a Zinc-Tin Alloy that makes it appear grey. John of KSR and the electricians continue work begun on 13 May.

On 15 May 09 the white oak cabinetry arrives to be installed in the Garden Work Space. Roofers continue their work.

On 18 May 09, Three Leaf Landscaping returns to install the handicap access bluestone ramps to the north and south entrances, as well as clean up and reseed the disrupted areas, lay the chip stone perimeter around the barn, spread new stone dust on the garden path, and remove the smaller cedar tree and foundations plantings. Dave the electrician completes his work.

On 19 May 09, Igor, Kronenberger's resident cabinetmaker, continues work on installing the cabinetry, while John is building a new closet. Carmello is re-installing the repaired upper west side window. Three Leaf Landscaping completes thier work.