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Finished but not blocked. My blocking area is currently taken up by the stuff out of the closet I'm painting.
only fools rush in.....=)
the loose gravel and with the guy running fast on the quite steep slope, the song suddenly started playing in my head =)
just updating my public display of affection set
Color Affection by Veera Välimäki
in Holst Garn, Coast : Tawny Owl & Granny Apple & Supersoft : Lychee
The Mill Pond - n. d.
Frank A. Bicknell, American, (February 17, 1866–April 9, 1943)
Frank Bicknell remains mysterious. He is frequently described as tall, handsome, and outgoing, but no photograph of him has been located. He lived in Old Lyme for nearly forty years, yet little can be said about his life there, not, indeed, about his life before that.
Bicknell was born in Augusta, Maine, in 1866, and later moved to Malden, Massachusetts, where he studied art with Albion H. Bicknell, presumably a relative. In 1887 he exhibited at the National Academy of Design. The following year he moved from Malden to New York City, and by 1893 he was in Paris studying at the Academie Julien under Bouguereau and Robert Fleury. His entry in New York’s National Academy exhibition that year depicted an old washhouse along the River Eure-Chartres, suggesting a Barbizon approach not unlike that of his first teacher and namesake.
In 1894 his address was the Salmagundi Club in New York, possibly indicating his recent return to this country, and his entry in the National Academy annual that year was "An Old Apple-Orchard, France" (which he priced at $500, an amount roughly four times that he had put on his earlier paintings).
Curiously, Bicknell’s address for the next few years was "The Tower," Madison Square Garden, one of the newest, most celebrated buildings in the city. The Spanish tower that architect Stanford White designed to crown what was essentially an amusement center that included a theater, restaurant, concert hall and roof garden was the second tallest structure in the city.
He had money enough to travel to Japan during this period, for paintings he exhibited at the National Academy in the late 1890s are of Japanese subjects, and some artists’ dictionaries of the early 1900s note his trip to Japan.
Bicknell came to Old Lyme early, about 1902, and after that seemed to limit his travels to the eastern United States, often Maine or Cape Cod. A bachelor, Bicknell often referred to the other colonists as "the family." Arthur Heming, whose reminiscences of Old Lyme were published posthumously in 1971, described a typical evening in the Griswold House living room after a hard day’s work. The group around the fireplace: Metcalf, Woodrow Wilson, Hassam, "Uncle" Howe, DuMond, Robinson and Rook. "Mrs. Wilson, Mrs. DuMond, and Miss Pope and Bicknell were having a rubber of bridge, and Miss Florence was playing the piano while Hoffman was accompanying her upon his flute." Mrs. Wilson bought some of Bicknell’s paintings.
Bicknell and Miss Florence became good friends. His trips to Old Lyme meant a good deal to him. In a 1907 letter from North Hackensack, New Jersey, where he then had a winter home, he wrote:
"My dear Miss Florence:
Can you – and will you stow me away somewhere in the big house about the last week in September? Or the first week of October at the latest? Please do not say no – Put me in the barn if you will -- but come to Old Lyme I must sometime this Autumn."
Inexplicably, in about 1919, Bicknell began to teach. He became Associate professor at the Colllege of Fine Arts, Carnegie Institute of Technology, for six years, and apparently he taught no more after that.
Bicknell was a member of many organizations, among them the Lotos Club, the Salmagundi Club, the MacDowell Club, the National Arts Club, the Academy of National Art, the American Art Association of Paris, the Pittsburgh Art Association, and the Chicago Water Color Society. He was elected to associate membership in the National Academy of Design in 1913.
After 1916, Bicknell’s home in Old Lyme was one that had belonged to fellow artist Lewis Cohen, a Barbizon painter who bequeathed the place to him. Until failing health forced Bicknell to give it up, he was a prominent member of the Old Lyme group, who specialized in painting the local landscape at different times of day and in different seasons of the year. He died in 1943 in a nursing home in Essex. If there had been relatives, certainly his history would be better remembered.
The Baxter Collection: Selections from the Matthew A. Baxter Bequest
florencegriswoldmuseum.org/baxter-collection/
When Trustee Matthew “Andy” Baxter passed away in February 2022, his estate plans included a gift of Lyme School artworks to the Museum. The current installation of selected examples from his bequest of twenty artworks celebrates a cherished friend and supporter of the Museum, whose generosity has now enhanced the permanent collection.
Andy loved the Lyme landscape, an affection reflected in his collection’s emphasis on local scenes. Examples by artist friends Matilda Browne and George Bruestle depict scenes along Joshuatown Road. A small panel by Bruestle shows the view not far up Joshuatown Road, looking across hazy pastures and fields toward Hamburg Cove. Oils by William S. Robinson, Allen Talcott, and Guy C. Wiggins capture changing light, foliage, and weather—elements that attracted artists to the Lyme region at all seasons.
While the artists included in Baxter’s bequest have ties to Connecticut, not all are represented by paintings made in this area. Will Howe Foote hated New England’s cold weather and left his Old Lyme home for warmer destinations he depicted in paintings like the vibrant Water’s Edge, Bermuda. Carl Wuermer, who spent time in Connecticut as well as around the art colony in Woodstock, New York, is represented by a large but delicate snow scene.
Over the years, Andy demonstrated enthusiasm for the Museum’s exhibition program and even lent a prized painting by Matilda Browne to our 2017 survey of her work. Andy developed an affection for the work of Henry C. White (1861–1952) following the Museum’s 2009 exhibition of the pastels the artist made during nearly daily sessions drawing outdoors. While works on paper could not be included in this current selection due to light levels, look for those gifts in future exhibitions, along with examples by Bruce Crane, James Daugherty, Childe Hassam, and J. Alden Weir.
This exhibition is on view in the Marshfield House.
______________________________
Robert and Nancy Krieble Gallery
florencegriswoldmuseum.org/visit/museum-campus/#Krieble_G...
Beyond showcasing the current exhibitions, the Gallery houses The Shop, restrooms, the Visitor Lounge where an introductory video can be seen, and Café Flo. It leads to Marshfield, a Colonial Revival house where many of our lectures and events are held.
Exhibitions in the Krieble Gallery change three to four times each year. From collaborating with outstanding institutions such as the Fenimore Art Museum, the Portland Museum of Art, and the Parrish Art Museum to exhibitions such as The Exacting Eye of Walker Evans based on new research by our curators, there is always something on view to delight and inspire. Looking with little ones? Families can pick up Can You Find Me? Cards in the gallery area and search for details in the paintings featured in the exhibition.
The Florence Griswold Museum opened the Robert and Nancy Krieble Gallery in 2002. Designed by Centerbrook Architects, recipient of the 1998 AIA Firm of the Year Award, the gallery accommodates exhibition space, collection storage, visitor amenities and the museum shop. Overlooking the Lieutenant River, near where many of Miss Florence’s boarders set up their easels and painted the marshy coastline, this modern facility draws upon the Museum’s unique history and setting.
Visitors enter under a rippling aluminum canopy, which echoes the tidal river just beyond. Flowering vines scaling stainless steel arbors provide verdant contrast to the smooth white building and pay homage to Miss Florence’s lush gardens. Recognizing the importance of light to the Impressionist painters, the curvilinear connecting walls reflect sunlight, cast shadows, and create an airy, welcoming effect. Inside, specially designed skylights allow visitors to experience the artwork in an ambient natural light.
The Baxter Collection: Selections from the Matthew A. Baxter Bequest
florencegriswoldmuseum.org/baxter-collection/
When Trustee Matthew “Andy” Baxter passed away in February 2022, his estate plans included a gift of Lyme School artworks to the Museum. The current installation of selected examples from his bequest of twenty artworks celebrates a cherished friend and supporter of the Museum, whose generosity has now enhanced the permanent collection.
Andy loved the Lyme landscape, an affection reflected in his collection’s emphasis on local scenes. Examples by artist friends Matilda Browne and George Bruestle depict scenes along Joshuatown Road. A small panel by Bruestle shows the view not far up Joshuatown Road, looking across hazy pastures and fields toward Hamburg Cove. Oils by William S. Robinson, Allen Talcott, and Guy C. Wiggins capture changing light, foliage, and weather—elements that attracted artists to the Lyme region at all seasons.
While the artists included in Baxter’s bequest have ties to Connecticut, not all are represented by paintings made in this area. Will Howe Foote hated New England’s cold weather and left his Old Lyme home for warmer destinations he depicted in paintings like the vibrant Water’s Edge, Bermuda. Carl Wuermer, who spent time in Connecticut as well as around the art colony in Woodstock, New York, is represented by a large but delicate snow scene.
Over the years, Andy demonstrated enthusiasm for the Museum’s exhibition program and even lent a prized painting by Matilda Browne to our 2017 survey of her work. Andy developed an affection for the work of Henry C. White (1861–1952) following the Museum’s 2009 exhibition of the pastels the artist made during nearly daily sessions drawing outdoors. While works on paper could not be included in this current selection due to light levels, look for those gifts in future exhibitions, along with examples by Bruce Crane, James Daugherty, Childe Hassam, and J. Alden Weir.
This exhibition is on view in the Marshfield House.
______________________________
Robert and Nancy Krieble Gallery
florencegriswoldmuseum.org/visit/museum-campus/#Krieble_G...
Beyond showcasing the current exhibitions, the Gallery houses The Shop, restrooms, the Visitor Lounge where an introductory video can be seen, and Café Flo. It leads to Marshfield, a Colonial Revival house where many of our lectures and events are held.
Exhibitions in the Krieble Gallery change three to four times each year. From collaborating with outstanding institutions such as the Fenimore Art Museum, the Portland Museum of Art, and the Parrish Art Museum to exhibitions such as The Exacting Eye of Walker Evans based on new research by our curators, there is always something on view to delight and inspire. Looking with little ones? Families can pick up Can You Find Me? Cards in the gallery area and search for details in the paintings featured in the exhibition.
The Florence Griswold Museum opened the Robert and Nancy Krieble Gallery in 2002. Designed by Centerbrook Architects, recipient of the 1998 AIA Firm of the Year Award, the gallery accommodates exhibition space, collection storage, visitor amenities and the museum shop. Overlooking the Lieutenant River, near where many of Miss Florence’s boarders set up their easels and painted the marshy coastline, this modern facility draws upon the Museum’s unique history and setting.
Visitors enter under a rippling aluminum canopy, which echoes the tidal river just beyond. Flowering vines scaling stainless steel arbors provide verdant contrast to the smooth white building and pay homage to Miss Florence’s lush gardens. Recognizing the importance of light to the Impressionist painters, the curvilinear connecting walls reflect sunlight, cast shadows, and create an airy, welcoming effect. Inside, specially designed skylights allow visitors to experience the artwork in an ambient natural light.