1934: A New Deal for Artists Exhibit in Albany

During the Great Depression, President Franklin Delano Roosevelt promised a &#8220new deal for the American people,&#8221 initiating government programs to foster economic recovery. Roosevelt’s pledge to help &#8220the forgotten man&#8221 also embraced America’s artists.

The Public Works of Art Project (PWAP) enlisted artists to capture &#8220the American Scene&#8221 in works of art that would embellish public buildings across the country. They painted regional, recognizable subjects &#8211 ranging from portraits, to cityscapes and images of city life, to landscapes and depictions of rural life &#8211 that reminded the public of quintessential American values such as hard work, community and optimism. Read more

Americana Symposium: Civil War Era Material Culture

On September 29, the New York State Historical Association in Cooperstown, New York, will host a second annual Americana Symposium. This year the theme is &#8220Civil War Era Material Culture&#8221- the event will be held at the Fenimore Art Museum from 9am until 5pm.

The symposium brings together leading scholars and experts on American history, art, and culture. After morning speaker sessions and an optional buffet lunch at noon, the 77th New York Regimental Balladeers perform in a special presentation, &#8220Hard Times Come Again No More: America’s Heart Songs&#8221. The balladeers preserve the songs, tunes, history, and spirit of the Antebellum and Civil War period using original musical arrangements and lyrics. 

This year’s presentations include:

  • “Seeing the Civil War: Artists, Photographers, Cartoonists, and Pictorial News and Views,” Joshua Brown, American Social History Project/Center for Media and Learning
  • “Photographic Techniques During the American Civil War,” Mark Osterman, George Eastman House International Museum of Photography and Film
  • &#8220Food in the Civil War,&#8221 Andrew F. Smith, food and culinary historian
  • “Emblems of Devotion: New York State’s Civil War Battle Flags, 1861-1862,” Christopher Morton, New York State Military Museum

Symposium attendees also have the opportunity to explore the Fenimore Art Museum and The Farmers’ Museum. Cooking demonstrations take place at The Farmers’ Museum, and a reproduction regimental silk flag will be painted at the Fenimore Art Museum. The symposium coincides with the Fenimore Art Museum’s exhibition, On the Home Front: New York in the Civil War, which runs from September 8 through December 31, 2012. The exhibition features Civil War–era artifacts, artwork, photographs and clothing.

The public is invited to explore the exciting world of Americana. Registration is limited and is $65 for NYSHA members and Archive Partnership Trust members, $75 non-members. For a complete schedule or to register online, visit FenimoreArtMuseum.org or call (607) 547-1453.

Local Artist Donates Painting to Saratoga NHP

Local folk artist Richard Salls of Schuylerville has donated the original oil painting “225” to Saratoga National Park in Stillwater. “225” was originally unveiled in 2002 to commemorate the 225th anniversary year of the Battles of Saratoga and the 125th year of the Saratoga Monument.

This work of art commemorates the surrender of British General John Burgoyne to American General Horatio Gates after the 1777 Battles of Saratoga &#8211 an event known as the Turning Point of America’s Revolutionary War. The village of Schuylerville, formerly Saratoga, is the site of the surrender. Salls, a long-time resident of Schuylerville, is no stranger to the rich history in the area. The painting features the historic sites of the Schuyler House, Saratoga Monument and Neilson House, very familiar places to Salls.

The original painting will be on display at the park’s visitor center through September. Prints of the painting are available in the park’s gift store which features books, glassware, souvenirs, and other quality items about the Battles of Saratoga and the Revolutionary War. Further information about the artist is available at: www.saratogafolkart.com.

For more information about this or upcoming events at Saratoga National Historical Park, the National Park in your backyard, call the Visitor Center at 518-664-9821 ext. 1777 or check the park website at www.nps.gov/sara or Facebook page at: www.facebook.com/saratoganhp.

Secret Lives Tour: One Wall Street, Manhattan

The Historic Districts Council is presenting aВ series of tours highlighting some of the most original and rarely-seen spaces in New York.В The Secret Lives Tours take attendees inside some of the most unique and spectacularВ landmarked spaces in the city, both big and small, to learn about their history and
preservation. ВOn September 19, at 5 pm, the group will tourВ three spaces in the Art DecoВ tower at One Wall Street. В Built across from Trinity Church as the Irving Trust Building, theВ limestone skyscraper is a private wonder occupied today by The Bank of New York Mellon.В Visitors will explore the bank’s museum, 49th floor reception room, and The Red Room,with its red and gold mosaics. The museum’s artifacts illustrate the architecturalВ and institutional history of Bank of New York Mellon in Lower Manhattan. On the top floor, gildedВ shells from the Philippines decorate the angular ceiling of the three-story reception room.В The adjacent observation decks provide splendid views in four directions.В The Red Room next to the New York Stock Exchange greets the bank’s clients. Named forВ an intricate mosaic design glittering along the walls and ceiling, the room was designed byВ artist Hildreth MeiГЁre (1892-1961) with architect Ralph Walker of Vorhees, Gmelin andВ Walker. She is regarded as the foremost muralist of the Art Deco style in the 1930s. HerВ daughter Louise MeiГЁre Dunn and granddaughter Hildreth MeiГЁre Dunn will join the tour asВ special guests and speak about the International Hildreth Meiere Association, the group theyВ lead to preserve her artistic legacy.Louise MeiГЁre Dunn is the only child of a remarkable woman – Hildreth MeiГЁre, an artistВ who forged a successful career in architectural art, a field then dominated by men. Louise isВ President of the International Hildreth MeiГЁre Association, founded to conduct activities to promote and perpetuate the
legacy of Hildreth MeiГЁre. She has been speaking on the work of her mother since 2003 at venues in New York andВ internationally.

Hildreth MeiГЁre Dunn, granddaughter of the artist, is the official photographer for the International Hildreth MeiГЁreВ Association. She was the principal photographer and photography editor for both the exhibition and catalogue WallsВ Speak: The Narrative Art of Hildreth MeiГЁre. She is strongly committed to the permanence of the artistic legacy ofВ Hildreth MeiГЁre, in the preservation and re-location of decommissioned works and in maintaining the quality andВ accessibility of the visual record of the artist’s entire body of work through the dissemination of photographs to numerousВ publications.Christine McKay, historian of BNY Mellon, will guide visitors through the historic building.В Price: $100 Friends of HDC, $125 for GuestsВ Location and directions for this tour will be provided upon registration.В Business or business casual attire is requested.В To purchase tickets, call 212-614-9107, ext. 14 or e-mail [email protected]. Advance reservations are requiredВ and space is limited to 25.

Adirondack Museum Acquires William Trost Richards Painting

The Adirondack Museum announces a significant addition to the permanent collection. The painting, Adirondack Landscape [Elizabethtown], 1864, by William Trost Richards (1833-1905), is a gift of the estate of Waldo Hutchins III. The painting is on exhibit in the Lynn H. Boillot Art Galleries for the 2012 season. Read more

New Crowd-Sourced Exhibition at Brooklyn Museum

Each voter may nominate as many as three artists for inclusion in the GO exhibition, which will be on view at the Brooklyn Museum from December 1, 2012, through February 24, 2013.

The ten artists with the most voter nominations will receive studio visits from Brooklyn Museum curators Sharon Matt Atkins, Managing Curator of Exhibitions, and Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art, who will make the final selection of works to be included in the exhibition.

Members of the public will nominate the artists whose work will be considered for GO: a community-curated open studio project, an upcoming exhibition at the Brooklyn Museum, by registering online to vote and by visiting artist studios during the GO open studio weekend on September 8-9, 2012. 1861 Brooklyn-based artists will open their studio doors in 46 of Brooklyn’s 67 neighborhoods, covering Brooklyn’s 73 square miles.

Today marks the launch of a new phase of the GO website, which showcases participating artists and allows voters to register. By visiting www.gobooklynart.org, voters can create and share itineraries of artist studios they plan to visit on September 8 and 9. Itineraries can be accessed on the GO iPhone application, so voters may take their plans with them as they travel around Brooklyn during the open studio weekend.

On September 8 and 9, artists will open their studio doors to the public from 11 a.m. until 7 p.m. Voters must check in using either the GO iPhone app or SMS text messaging using a unique number assigned to each artist and posted on a sign in their studio. Voters can also write down artist numbers and enter them later at the GO website. To be eligible to vote, registrants must check in at a minimum of five studios. After the close of the open studio weekend, eligible voters will receive an email from the GOteam with nomination instructions.

GO studio map
The public nomination period will begin on September 12 and end on September 18. During that time, voters will have the option to comment on the artist studios they visited. The comments will be publicly available on the GO website and may be selected for inclusion in the exhibition GO: a community-curated open studio project.

The GO project launched in May with the goal of transforming how communities in Brooklyn, and beyond, engage with the arts by providing the public with the opportunity to discover artistic talent and get involved in the exhibition process at a grassroots level.

The project is co-organized by Atkins and Shelley Bernstein, Chief of Technology. GO: a communitycurated open studio project is inspired by two established programs: ArtPrize, an annual, publicly juried art competition in Grand Rapids, Michigan, and the long tradition of open studio weekends held each year in the Brooklyn neighborhoods of Williamsburg, Greenpoint, DUMBO, Gowanus, Red Hook, and Bushwick.

Hyde Collection Names Interim Co-Directors

The Board of Trustees of The Hyde Collection has announced the appointment of two interim co-directors to oversee and direct the Museum following the departure of the current executive director, David Setford, in August.

Hyde chief curator Erin B. Coe and Hyde financial officer Lynne Mason will share responsibilities for running the institution until a new director is found. As of August 24, 2012, the current director, David F. Setford, will resign his position to be the managing executive of International Fine Art Expositions, Miami and West Palm Beach, Florida.

Coe has been with The Hyde since 1999 and during her tenure she has been responsible for many exhibitions and publications related to nineteenth and twentieth-century American art. In addition to serving as the head of the curatorial department, she has authored several publications and many successful grants. Erin had held previous positions at The Metropolitan Museum of Art, Shaker Museum and Library, and University Art Museum (University at Albany), holds a B.A. and M.A., and is currently finishing her Ph.D. in the history of art at Boston University.

At the Museum since September of 2001, Lynne Mason manages both finance and human resources. She came to The Hyde with over 20 years of business and accounting experience. Mason completed a graduate business administration program in accounting, was named to the business honor society, earned the Graduate Achievement award, and passed the CPA exam. Ms. Mason holds a B.A. and M.S.

The Board of Trustees has retained executive search consultant Marilyn Hoffman of Museum Search and Reference, Londonderry, New Hampshire. Inquiries regarding the Museum’s search should be directed to Hoffman at 603-432-7929.

Tom Hughes: The Champlain Memorial Lighthouse Centennial

What follows is a guest essay by Thomas Hughes, Director of the Crown Point State Historic Site on Lake Champlain in Essex County, NY. The site includes two National Historic Landmarks: the ruins of French-built Fort St. Frederic (1734-59) and the ruins of Crown Point’s British fort (1759-73).

Dedicated 100 years ago this month on July 5, 1912, and located at a prominent site that is steeped in history, the Champlain Memorial Lighthouse serves as a monument to the 1609 voyage on Lake Champlain by French explorer Samuel Champlain.

This Champlain Memorial rises from a small point of land just southeast of the Lake Champlain Bridge. In July 1609, Samuel Champlain was the first European to record seeing this majestic lake which he named for himself. Late that month, Algonquin, Huron, and Montagnais Indians in canoes guided Champlain and two fellow Frenchmen southward from the St. Lawrence River region onto Lake Champlain, so that the three Europeans might join the Algonquins in a military engagement against the Algonquin’s Iroquois enemies. A battle took place (perhaps near the present-day site of the lighthouse), the arquebus firearms used by the three Frenchmen proved decisive, and the Algonquins and French returned northward.

Over 100 years later, the French built a fortified windmill here (circa 1737), as part of their Fort St. Frederic military and civilian complex. The windmill ground grain for the fort garrison and for the nearby French civilian population but also served as an outer military defensive structure in that the windmill was fortified with cannons. The French blew up their windmill in late-July 1759, as the French military abandoned Fort St. Frederic to the advancing British army. In August 1759, when the British began to build a vast Crown Point fort, to be their primary fortification on Lake Champlain, the lighthouse site was chosen for one of their outer forts, the Grenadier Redoubt. Remains of part of the Grenadier Redoubt can still be seen today, immediately south of the lighthouse.

On May 12, 1775, during the outbreak of the War for Independence, a few British soldiers at Crown Point were captured by 100 “Green Mountain Boys” (from the Hampshire Grants) under the command of Seth Warner. In addition to taking the strategic location from the British, the rebels liberated a great prize: 111 British cannon.

In peacetime, commerce grew on Lake Champlain, as did the need for a lighthouse at the narrows at the point of the Crown Point peninsula. The Crown Point Lighthouse was built in 1858 as a 55-foot octagonal limestone tower. Trapezoidal windowpanes encased the lantern room, from where a fifth-order Fresnel lens beamed a fixed white light at a focal plane of eighty-three feet. The Crown Point Lighthouse faithfully served for over 70 years.

In time for the 300th anniversaries in 1909, the States of New York and Vermont each established tercentennial commissions to organize events to celebrate Champlain’s lake voyage. The festivities that the commissions organized commenced at Crown Point on Monday, July 5, 1909 with an address by New York State Governor (Glens Falls native and future U.S. Supreme Court Chief Justice) Charles Evans Hughes, Indian pageants, and fireworks.

Besides planning the week-long celebration, the commissions from New York and Vermont also desired to erect a suitable and permanent memorial to Champlain. One suggestion that appeared in a local newspaper as a Letter to the Editor was to convert an existing lighthouse into a memorial. Incorporating the memorial with a lighthouse seemed a fitting way to commemorate an explorer and navigator of Champlain’s stature. Various sites on Lake Champlain (including Cumberland Head, Plattsburgh, Isle La Motte, Bluff Point, Split Rock, Rock Dunder, Ticonderoga, Mount Defiance, and Juniper Island) were considered for the memorial before the two commissions, with the blessing of the U.S. Lighthouse Service, agreed in 1910 on Crown Point.

According to the Ticonderoga Sentinel (page one, October 13, 1910), “The Memorial Committee of the Lake Champlain Tercentenary Commission, appointed from New York and Vermont, announced [on Wednesday, October 5, 1910] that the permanent memorial to Samuel Champlain, discoverer of Lake Champlain, would probably be a lighthouse instead of a memorial statue or monument …The expense of the memorial is $76,000. … The members of the committees were guests … Wednesday on board the steamer Vermont, and the members of the association viewed the proposed site that day.”

With $50,000 in funds set aside from the Tercentennial Commissions, work began on the memorial to Champlain and his exploration of the lake. The memorial was designed by Dillon, McClellan, and Beadel. The Champlain Memorial is classical and French Renaissance in style, with heavy stone columns, entablature, ornamental frieze and setbacks. The limestone exterior of the lighthouse was replaced with eight Roman Doric columns resting upon a conical base made of Fox Island granite from Maine. An ornate cornice, parapet, and lantern room were also added to complete the memorial. Parts of the foundation, the interior brick, and the cylindrical shaft holding the spiral stone staircase remain from the 1858 lighthouse.

In another page one article on June 27, 1912 the Ticonderoga Sentinel announced that “The Champlain memorial, erected on the site of the lighthouse at Crown Point, N.Y., by the states of Vermont and New York jointly through the commissions of the two states, will be dedicated Friday, July 5th. The Hon. H. Wallace Knapp, chairman of the New York commission and Dr. John M. Thomas, president of Middlebury College, a member of the Vermont commission, will present the memorial to the States …, and it will be accepted by Vermont Governor John A. Mead and by New York Governor John A. Dix [Glens Fallsnative]. &#8230- The exercises will begin with prayer by the Rev. Dr. Lewis Francis, of Port Henry. [In addition to the Governors’ remarks,] it is expected that representatives from the British and French embassies atWashington will also be present and make addresses.”

On the side of the memorial that faces Vermont, are bronze sculptures, the largest of which was crafted by German-American Carl A. Heber (1875-1956). It depicts, above the prow of a canoe which appears to be filled with furs, Champlain standing in the center, flanked by a crouching Huron guide and a French Voyageur. These larger-than-life-size figures were cast at the Roman Bronze Works in Brooklyn.

Two months before the July 1912 dedication, France had donated a bronze profile bust (for which sculptress Camille Claudel had been the model), sculpted by the great French artist Auguste Rodin, to be incorporated into the monument. At the dedication of the memorial, the leader of the visiting French delegation remarked “The United States is raising a monument to a Frenchman, and France sends you, through us, her tribute of gratitude.” The Rodin “La France” sculpture remains visible, as located on the memorial exterior, below the larger-than-life sculpture of Champlain.

The construction of the lighthouse memorial was a joint effort of the States of New York and Vermont (two small monuments flanking the lighthouse are inscribed with the names of the tercentenary commissioners) as part
of the 1909-1912 observance of Champlain’s voyage on the lake. On each side of the monument are coats of arms: New France (French North America, 1609-1763), the State of Vermont, France (at the time of Louis XIII), the United States of America, the State of New York, and Brouage (Champlain’s birthplace in France).

With the opening of the nearby Lake Champlain Bridge on August 26, 1929, the usefulness of the light as a navigational aid was short-lived. The lighthouse was taken out of active service circa 1930 and deeded to the State of New York. The light keeper’s wooden Cape Cod-style cottage, attached to the memorial lighthouse, was eventually removed. Today the Champlain Memorial lighthouse is part of the Crown Point Reservation Campground and is open to the public. The lighthouse is under the stewardship of the New York State Department of Environmental Conservation.

A few years ago, government funds were used to repair the covered steamboat pier that was added during the 1930s and to restore the historic lighthouse, a symbol of Crown Point’s history. The restoration of the lighthouse exterior was completed in time for the 2009 quadricentennial celebration of Champlain’s historic voyage and the “La France” sculpture by Rodin was cleaned. On September 19, 2009, this Champlain Memorial was publicly re-dedicated by the states of Vermont and New York. Four weeks later, the Lake Champlain Bridge closed and during 2010 and 2011, a replacement bridge was constructed beside the lighthouse. The Champlain Memorial is visible from a sidewalk on the popular new bridge.

As a monument, the Champlain Memorial is a handsome and fitting tribute- as a lighthouse, the structure is extraordinarily ornamental and unique- as sculpture, the edifice enjoys an abundance of great works of art in bronze. This month, the Champlain Memorial begins its second century of proudly honoring Samuel Champlain, “The Father of New France.”

Walt Whitman Portrait at The Hyde Collection

The Hyde Collection in Glens Falls (Warren County) is offering visitors an unprecedented opportunity to see the remarkable Portrait of Walt Whitman (1887-1888) by Thomas Eakins (1844-1914).

The Whitman portrait is considered one of Eakins’s finest paintings, and only rarely leaves Philadelphia, where it is a featured work in the collection of the Pennsylvania Academy of Fine Arts (PAFA). The image of one of America’s most influential poets, by one of the nation’s greatest artists, will be in Glens Falls for six months, as a second exchange for the year-long loan of The Hyde Collection’s Portrait of Henry Ossawa Tanner (ca. 1897) by Eakins.

Tanner was one of Thomas Eakins’s students at the Pennsylvania Academy and the portrait has been lent to PAFA for their exhibition Henry Ossawa Tanner: Modern Spirit. That major retrospective celebrates Tanner’s position in American art as a pioneering African-American, as well as establishing him as one of our most significant expatriate artists of the late nineteenth and early twentieth centuries.

The Portrait of Walt Whitman will be exhibited in Hyde House where visitors can also see In the Studio (1884), another work by Eakins in the Museum’s collection.

Before returning to The Hyde, the Tanner portrait will have been exhibited in three national venues: PAFA, January 28 – April 15, 2012- Cincinnati Art Museum, May 26 – September 9, 2012- and then traveling to the Museum of Fine Arts, Houston, October 21 – January 13, 2013.

Illustration: Thomas Eakins, American (1844-1916), Walt Whitman (1819-1892), 1887-88, oil on canvas, Courtesy of the Pennsylvania Academy of the Fine Arts, Philadelphia.

Seneca Ray Stoddard Exhibit Opens at NYS Museum

A new exhibition has opened at the New York State Museum showcasing the works of Adirondack photographer and conservationist Seneca Ray Stoddard.

Seneca Ray Stoddard: Capturing the Adirondacks is open through February 24, 2013 in Crossroads Gallery and includes over 100 of Stoddard’s photographs, an Adirondack guideboat, freight boat, camera, copies of Stoddard’s books and several of his paintings.

There also are several Stoddard photos of the Statue of Liberty and Liberty Island. These and other items come from the State Museum’s collection of more than 500 Stoddard prints and also from the collections of the New York State Library and the Chapman Historical Museum in Glens Falls.

Born in Wilton, Saratoga County in 1844, Stoddard was no doubt inspired by the Adirondacks at an early age. A self-taught painter, he was first employed as an ornamental painter at a railroad car manufacturer in Green Island, across the Hudson River from Troy in Albany County. He moved to Glens Falls (Warren County) in 1864, where he worked with sketches and paintings until his death there in 1917.

Early on he sought to preserve the beauty of the Adirondacks through his paintings but then became attracted to photography’s unique ability to capture the environment. He was one of the first to capture the Adirondacks through photographs. He used the then recently introduced wet-plate process of photography. Though extremely cumbersome by today’s standards, the technique was the first practical way to record distant scenes. It required Stoddard to bring his entire darkroom with him into the Adirondack wilderness.

His renown as a photographer quickly grew once he settled in Glens Falls, which also became his base camp for his explorations of the Adirondacks. He studied the Adirondacks intensely over a 50-year period.

Stoddard’s photos showed the challenges travelers faced in getting to the still undeveloped wilderness, along with their enjoyment of finally reaching their destination. His writings and photographs indicate that he was especially skilled at working with people from diverse economic backgrounds in a variety of settings. This was especially important as he used his photos to capture the changing Adirondack landscape as railroads were introduced and the area became an increasingly important destination for the burgeoning middle-class tourist, but also for the newly wealthy during the “Gilded Age.”

His work stimulated even further interest as he promoted the Adirondacks through his photographs and writings on the beauty, people and hotels of the region. Stoddard’s photographs showed the constancy of the natural beauty of the Adirondacks along with the changes that resulted from logging and mining, to hotels and railroads. As unregulated mining and logging devastated much of the pristine Adirondack scenery, Stoddard documented the loss and used those images to foster a new ethic of responsibility for the landscape. His work was instrumental in shaping public opinion about tourism, leading in part to the 1892 “Forever Wild” clause in the New York State Constitution.

The State Museum purchased over 500 historic Stoddard prints in 1972 in the process of acquiring historic resources for the Museum’s Adirondack Hall. They included albumen prints from Stoddard’s own working files, many with penciled notes. Nearly all are of the landscapes, buildings and people of the Adirondacks taken primarily in the 1870s and 1880s.

An online version of the exhibition is also available on the State Museum website at http://www.nysm.nysed.gov/virtual/exhibits/SRS/ .

The State Museum will present several programs in conjunction with the Stoddard exhibition. There will be guided tours of the exhibition on September 8 and December 8 from 1-2 p.m. Stoddard will also be the focus of Family Fun Day on September 15 from1-4 p.m.

Established in 1836, the New York State Museum is a program of the State Education Department’s Office of Cultural Education. Located on Madison Avenue in Albany, the Museum is open Monday through Saturday from 9:30 a.m. to 5 p.m. except on Thanksgiving, Christmas and New Year’s Day. Admission is free. Further information can be obtained by calling (518) 474-5877 or visiting the Museum website at www.nysm.nysed.gov.

Photo: Stoddard’s &#8220Indian Encampment, Lake George, 1872&#8243-.