Ides of March, 1974 tempera on panel,
© Andrew Wyeth. Collection of
Mr. and Mrs. Frank E. Fowler.
Ides of March Study, 1974 pencil
© Andrew Wyeth. The Andrew and Betsy Wyeth Collection.
Ides of March Study, 1974 watercolor
© Andrew Wyeth. The Andrew
and Betsy Wyeth Collection.
Andrew Wyeth's "Ides of March:"
The Making of a Masterpiece
on view through May 27
This exhibition offers a historic opportunity to view Andrew Wyeth's rarely-seen tempera painting, Ides of March (1974), along with more than 30 of the studies that were instrumental to his development of the composition. Assembled together for the first time, these provide remarkable insight into the artist's creative approach and evocative imagery. The exhibition is generously funded by .
“Index Horse” weathervane, attributed to J. Howard & Co., Bridgewater, Massachusetts, circa 1850, copper and cast zinc, 20 x 24 inches, Private Collection.
Which Way the Wind Blows:
Antique American Weathervanes
May 25 through July 28
Functional and artistic, weathervanes roosted over American buildings both humble and high style—barns and banks, churches and courthouses. Viewed today as folk art, weathervanes were one of the earliest sculptural forms in the United States. Weathervane forms run the gamut through history beginning at the Temple of the Winds in ancient Athens, where the figure of Triton—cleverly designed to always face the direction of the wind—topped the structure. In America, colonial craftsmen fashioned unique weathervanes, such as Shem Drowne’s grasshopper atop Boston’s Faneuil Hall, which were later imitated, mass-produced and offered through mail-order catalogues. The exhibition, which will include 28 weathervanes, covers the variety of forms popular in this country as well as the finer points of interest to collectors including finishes, manufacturers and matters of authenticity. This exhibition, which opens in conjunction with the annual Antiques Show, was curated by Amanda C. Burdan.
Jamie Wyeth (b. 1946), Jenny Whibley Sings, 2008, oil on board, Jamie and Phyllis Wyeth Collection
Rockwell Kent (1882-1971), Cranberrying, Monhegan , c. 1907. Oil on canvas. Terra Foundation for American Art, Gift of Mr. Dan Burne Jones, C1983.4
© Courtesy Plattsburgh State Art Museum, State University of New York, USA, Rockwell Kent Collection, Bequest of Sally Kent Gorton. All rights reserved.
Jamie Wyeth, Rockwell Kent
June 15 through November 17
A small island off the coast of Maine, Monhegan has long lured artists to its remote shores, promising dramatic ocean vistas, rugged landscapes, and inspiring scenes of men struggling against the forces of nature. This exhibition examines the fascination that the island of Monhegan and its people held for both Rockwell Kent (1882-1971) and Jamie Wyeth (b. 1946). Although the two artists never met, their paintings, when viewed together, depict a century’s worth of Monhegan life and landmarks from vantage points most other artist never beheld. The exhibition will include examples of some of Wyeth’s most recent paintings and a number of works from his personal collection of Kent’s coastal views of the Monhegan headlands. Wyeth’s paintings, on the other hand, are often created with his “back to the sea,” as he describes it, focusing on the people who inhabit the island. The Brandywine River Museum is expanding upon the original exhibition, including more than a dozen additional works and the debut of a new painting by Wyeth.
The exhibition is organized by the Farnsworth Art Museum, Rockland, Maine. Funding for the exhibition has been provided by The Crosby Kemper Foundation, Mr. Richard Gilder and Ms. Lois Chiles, Mr. and Mrs Joseph Pyne, John and Anne Surovek, Mr. and Mrs. George Twigg III, and donors who wish to remain anonymous. At the Brandywine River Museum the exhibition is supported by The Davenport Family Foundation Fund for Exhibitions.