Woodstock Collects

Woodstock Byrdclif fe Guild

Woodstock Ar tists Association & Museum

Woodstock Collects

Histor ical Society of Woodstock

Woodstock School of Ar t

Center for Photography at Woodstock

Woodstock Collects

Woodstock Byrdclif fe Guild

Woodstock Ar tists Association & Museum

Histor ical Society of Woodstock

Woodstock School of Ar t

Center for Photography at Woodstock

The organizer s of Woodstock Collects gratefully acknowledge the generosity of all lender s to this exhibition. The y inspired us, generously received us in their homes, and gave us temporar y custody of their treasures so Woodstocker s and all other s could share in the beauty and impor tance of their ar tworks

Similarly, we thank all suppor ter s of this major ar tistic collaboration, who under stood its impor tance and helped raise funds to realize it

Finally, immense thanks to the Boards, Director s, Curator s and Staf f of the five par ticipating institutions, who made it all happen

Catalog design: Abigail Sturges

Bottom

WBG

Austin Meck em 1890-1951

White House in Or chard, n d Oil on canvas, 11¼ x 13½ n Collect on of Sarah Greer Mecklem

WAAM

Ethel Magafan 1916–1993

Mountain Waters 1970

Tempera on masonite, 25½ x 43½ in Collect on of Jenne M Cur r e

HSW

Pamela Vinton Ravenel 1883–1955

T he Irvington Inn c 1945 (detail)

Watercolor 12 x 18 n Co lection of Kathy Longyear

WSA

Yasuo Kuniyoshi 1889-1953 Before the Act 1932 (deta l)

Lithograph 13 x 9¾ in Co lection of Stephen and Charlotte Diamond

CPW

Manue Komrof f 1890–1974

Untitled n.d (detail)

S lver gelatin print, 10 x 7¾ n Co lection of Jean Young

Woodstock Byrdclif fe Guild

September 14-October 13, 2019

Jeremy Adams, Executive Director

Woodstock Ar tists Association & Museum

An Artistic Legac y 1+1+1

August 10-December 29, 2019

Janice La Motta, Executive Director and Curator of the Per manent Collection

Histor ical Society of Woodstock

September 14-October 27, 2019

Deborah Heppner, Executive Director

Woodstock School of Ar t

September 14–October 12, 2019

Nina Doyle, Executive Director

Center for Photography at Woodstock

September 14-October 20, 2019

Hannah Fr ieser, Executive Director

Alive and Well in Woodstock Essay by Susana Tor r uella Leval

Woodstock Byrdclif fe Guild

Introduction by Susana Tor r uella Leval

Curator s’ Statement by Tina Bromberg, Abigail Sturges, and Sylvia Leonard Wolf Por tfolio

Woodstock Ar tists Association & Museum

Introduction by Susana Tor r uella Leval

Curator’s Statement by Janice La Motta Por tfolio

Histor ical Society of Woodstock

Introduction by Susana Tor r uella Leval

Curator’s Statement by Deborah Heppner Por tfolio

Woodstock School of Ar t

Introduction by Susana Tor r uella Leval

Curator’s Statement by Jenne M Cur r ie Por tfolio

Center for Photography at Woodstock

Introduction by Susana Tor r uella Leval

Curator’s Statement by Hannah Fr ieser Por tfolio

Afterword Susana Tor r uella Leval

Checklist

Alive and Well in Woodstock

Susana Tor r uella Leval

Ar t Histor ian

Tom Wolf, Woodstock’s leading ar t histor ian, wrote in 1987 that:

For a town of its size, Woodstock has few if any rivals for artistic energy The tradition of artistic activity inaugurated in 1902 continues in forms and fashions that would have amazed the original founders of Byrdcliffe but that bear out the enduring value of their ideals.

Tom Wolf

Woodstock’s Art Heritage 1

Three decades later, his obser vation remains tr ue

This multi-venue exhibition, Woodstock Collects, reveals the per sistent vitality that gave r ise to the Woodstock Ar t Colony, attracting a constant f low of ar tists, musicians, wr iter s, tour ists and visitor s since 1902 Woodstock Collects is a fir st-time collaboration between five nonprofit ar ts organizations:2 the Woodstock Byrdclif fe Guild (the Guild), the Woodstock Ar tists Association & Museum (WAAM), the Histor ical Society of Woodstock, the Woodstock School of Ar t, and the Center for Photography at Woodstock (CPW). The exhibition was conceived b y two Guild board member s, Abigail Sturges and Sylvia Leonard Wolf, with the or ganizing committee including the ex ecutive directors and presidents of all five organizations Abigail Stur ges, book designer, a Woodstocker, and project leader, descr ibes its goal:

To delve into the rich collections of painting, drawings, sculpture, photographs, and some crafts in pr ivate homes in Woodstock These works have rarely been seen in public spaces Our purpose is also to demonstrate to Woodstock the power of a five-organization collaboration, and to reveal the impor tance of Woodstock ar t collections to a wider audience 3

Sylvia Leonard Wolf, an ar t appraiser and curator, fur ther notes that each venue:

features works that are par ticularly ger mane to its histor y, and ref lect the ar tists’ lives their feelings, their interests, their families, their fr iends, their community, their beautiful r ural sur roundings. Woodstock Collects provides a rare oppor tunity to gain a broader understanding of the many interconnections of the lar ge number of ar tists’ families who continue to make Woodstock their home 4

Woodstock Collects of fer s an ideal oppor tunity to explore each or ganization’s histor y and under stand their mutual sustainability Each of the five par ts of the exhibition has a dif ferent curator ial approach and personality Each venue shows works that illuminate its par ticular past At the same time, all five point to a common future as par t of the town’s ar tistic alliance confir ming that creative energy and activity are alive and well in Woodstock.

Trained as an ar t histor ian, I have not wr itten as one for this essay I usually wr ite a bout works of ar t, but here I wr ite a bout ar t or ganizations As a longtime weekend resident of Woodstock, I have mar veled that a town of 6,000 can sustain so many nonprofit ar t groups of dif ferent sizes, histor ies, and character s.With this essay I pay homa ge to five of these local institutions,5 each par t of the fragile economy of nonprofits in a capitalist society. My hope is that re vealing the interconnectedness of these five or ganizations may shed light on the long histor y, organic development, and special nature of Woodstock as one of the most durable ar tist colonies of the United States

Notes

1 Tom Wolf, Woodstock s Art Heritage T he Permanent Collection of the Woodstock Artists Association (Woodstock: The Overlook Press,1987), 29

2 Another precedent for a multi-venue exhibition between local organizations was Music in the Woods One Hundred Years of Maverick Concerts, a collaboration between Maverick Concer ts, WAAM, and the Woodstock Byrdclif fe Guild, which I organized in July-September, 2015

3 Abigail Sturges, phone inter view, June 20, 2019

4 Sylvia Leonard Wolf, email communication, June 20, 2019.

5 The Woodstock Librar y, Woodstock Film Festival, Woodstock Playhouse, Bear sville Theater, and the Creative Music Studio are among many other wor thy nonprof ts that I do not wr ite about here, as the y are outside the scope of this exhibit on project

Woodstock Byrdclif fe Guild

Established 1902

The Byrdclif fe Ar t Colony was founded b y three ver y dif ferent individuals an ar istocratic Br itish philanthropist, an eccentr ic wr iter, and an ar tistmountaineer. The y a greed on one goal: to create a “Brotherhood”1 of ar tistic collaboration for excellence in the ar ts and crafts Ralph Radclif fe Whitehead was the British aristocrat, an intellectual and philanthropist His refor mist ideals were ignited b y the lectures of John Ruskin at Oxford Univer sity His fr iendship with teacher, mentor, and inspirational spir it of the English Arts and Crafts movement,William Morris, further inf luenced Whitehead’s intense passions: love of beauty, art, and manual labor, and hatred of industr ialization and its enslavement of the working classes Her ve y White, in contrast, was a scr uf fy, freethinking, magnetic wr iter and poet from Kansas, who had made his way east to Har vard College by stealing r ides in railroad boxcar s. Whitehead and White met around 1900 in Chicago at Hull House, an early feminist settlement house which advocated social refor ms to benefit the working classes. Although from opposite social poles, the y bonded immediately and discovered a shared utopian ideal of foster ing creativity in a healthful, beautiful place The y joined forces in Califor nia with the likeminded Bolton Brown, an ar tist and mountaineer The three men set out searching for the ideal site for an ar t

colony. Whitehead and White explored Nor th Carolina while Brown hiked New York’s Catskill Mountains. In 1902, the three utopians met together atop Woodstock’s Mount Guardian and recognized the y had found the “heaven on ear th” the y had dreamed of.2

For too shor t a time, from 1903 to 1906, the utopian Byrdclif fe Colony the y created had it all It was a haven for ar t and social refor m on a glor iously picturesque site with clean air and pure water; the campus had over thir ty buildings with beautifully appointed studios and classrooms for fur niture-making, weaving, potter y, photography, and painting, as well as highly talented instr uctor s Although Woodstock histor ian Alf Ever s later sardonically descr ibed Byrdclif fe as a “happ y, make-belie ve Old England,”3 Whitehead had vowed: “We must live in the future, not in the past not in the sentimental longing for the simple happ y times which we imagine to have been when the world was young, but in the confidence that the golden age lies ahead of us.”4 But Whitehead’s autocratic manner and inter nal dissensions stemming from what Evers called “a society that per sisted in remaining competitive rather than cooperative”5 opened r ifts among the founder s. Each continued separately to contr ibute in essential ways to the early histor y of the Woodstock Ar t Colony Her ve y White split from Byrdclif fe to found the Maver ick

Colony, while Bolton Brown became a major contr ibutor to the esta blishment of lithography as a fine ar t medium

The exhibition Woodstock Byrdcliffe Guild’s Legacy of the Ar ts: Fr iends, Families, Lover s, honor s Whitehead’s confidence in the future Curated b y Tina Bromberg, Abigail Sturges, and Sylvia Leonard Wolf, it celebrates ar tists and cultural leader s from ever y stage of the Guild’s remarkable histor y. These stages include: Whitehead’s Ar ts and Crafts utopia on the heights of Byrdclif fe; the for mation of the Woodstock Guild of Craftsmen in 1939, which respected Whitehead’s ideals while adapting them to the “needs and aspirations of a new time and of the community of which it for ms so vital a par t;”6 the merger between the Guild and the Byrdclif fe Ar t Colony in 1976; and in 1996, the addition of a contemporar y multi-use ar ts space, the Kleiner t/ James Center for the Ar ts The Kleiner t/James br ings creative contemporar y programming to Woodstock, casting a wide, deep net into its vital community of painter s, sculptor s, potter s, installation ar tists, photographer s, perfor mance ar tists, musicians, and videographer s Its contemporar y exhibition programming which has included a sur ve y of living ceramic ar tists, a show featur ing highly magnified photographs of fishing f lies, and solo shows by major ar tists such as Nina

Katchadour ian and Mar tin Pur year also includes piano recitals, folk and jazz perfor mances, even fashion shows 7 Most recently, the Guild has sponsored socialminded programs such as residency fellowships for ar tists of color and ar tists displaced by natural disaster For the Guild’s Fr iends, Families, Lover s, the three curator s have gathered a bounty of ar tworks from pr ivate Woodstock collections. As per the collaboration’s or iginal goal, the whole reveals the r ich interconnections between artists, individuals, and arts organizations in Woodstock.

Notes

1 Despite this typical idiom of the era, the Byrdcliffe Art Colony, from its inception, was ahead of its time in admitting women at al levels of par tic pation

2 Karal Ann Marling,“Introduction,” in Woodstock: An American Ar t Colony 1902–77 (Poughkeepsie: Vassar Co ege Ar t Galler y,1977), n p

3 Alf Ever s as quoted in Michael Perkins, T he Woodstock Guild and Its Byrdc liffe Ar ts Colony: A Brief Guide (Woodstock: The Woodstock Guild, 1991), 29.

4 Ralph Whitehead as quoted in ibid., 11-12.

5 Alf Ever s,“Foreword,” in ibid , 13

6 Ibid

7 Funded largely b y philanthropist Doug James, who is also responsible for building the Woodstock Byrdcliffe Gui d’s permanent collect on, and has he ped mu tiple organizations in town 7

Woodstock Byrdclif fe Guild’s Legacy of the Ar ts

Fr iends, Families, Lover s

Bromberg, Abigail Sturges, and Sylvia Leonard Wolf

In 1902, Ralph Whitehead, his wife Jane Byrd McCall, Bolton Brown, and Her ve y White shared a dream of for ming an idyllic ar ts colony that would educate young students; provide a haven for ar tists, wr iter s, musicians, and craftspeople; and establish a healthful, simple life for their families in the beautiful sur roundings of the Catskill Mountains Underlying this was a mission to produce handmade objects that, when sold, would finance the colony Although a few year s into its conception the Byrdcliffe Art Colony failed as a commercial venture, it was the genesis for Woodstock’s identity as an ar t community

Over the next hundred-plus year s, Byrdcliffe’s vision would grow and change and numerous ar tists would visit or move to the community. The ger m of the or iginal idea remains and today Byrdclif fe is still an active arts colony in a beautiful natural setting, fulfilling some of the dreams of the four founder s in offering an inspiring combination of artists’ residencies and educational, exhibition, and perfor mance programs that encourage creative collaboration among ar tists, students, ar ts professionals, and the public

Be yond Byrdclif fe, Woodstock itself has a special framework as an art colony Even our Artists Cemeter y, where many generations of Woodstock ar tists are bur ied including Byrdclif fe’s founder Ralph White-

head, poet/novelist Her vey White, and painter/lithographer Bolton Brown is a testament to art And throughout its histor y,Woodstock has been made up of different art circles over many different periods of time In any one era, there were many different social connections of working artists The core of what makes Woodstock exceptional is that ever yone had art in his or her home For some, it was because it was an artist’s home, ver y often an artist couple Or the result of an artist trading work with another ar tist Or an ar tist selling work in need of money Or art was traded in exchange for ser vices rendered by the plumber or the dentist In some homes, the art has been inherited. Newcomer s to the community have also embraced Woodstock art as collector s. As part of Woodstock Collects, the exhibition at the Woodstock Byrdclif fe Guild, Friends, Families, Lovers, of fer s a pr ivileged glimpse into the homes of passionate collector s who happily live with art. It is a rare chance to view fine, never-before-seen examples of art by artists whose reputations extend far beyond our local township and into the art world at large

Along with the other four par ticipating ar ts organizations, the Woodstock Byrdclif fe Guild is deeply grateful to the par ticipating pr ivate collector s for allowing us to surpr ise our viewing audience with an exciting exhibition of unique hidden treasures

The exhibition Woodstock Byrdcliffe Guild’s Legacy of the Arts: Friends, Families, Lovers studies relationships: those of ar tists among ar tists, ar tists and their families, ar tists and collector s But rather than list all the ar tists in our presentation, we would like visitor s to regard it as we did as a treasure hunt, with the works themselves, and their connections to their present owner s, being the pr ized finds.

Bolton Brown 1864-1936

T he Crooked Tree, n d

L thograph, 10½ x 10½ in Collect on of Natalie Chapman and Galen K rkland

John F Carlson 1875-1947

1884-1962

Excelsior Hotel, n d

Oil on canvas, 23¾ x 17½ n. Collect on of the

Char es Rosen 1878-1950

Anita M Smith 1893-1968

Oi

Woodstock Ar tists Association & Museum

Established 1919

The social and creative cohesiveness of the Woodstock colony, its nascent awareness of itself as a special, self-defined community, found concrete expression in the Woodstock Ar t Galler y, a Geor g ian Revival str ucture which opened with great ceremony in 1921 near Woodstock’s Village Green.”1 The galler y was created according to plans laid by the Woodstock Ar t Association (WAA), founded in 1919 by ar tists John F. Carlson, Frank Swift Chase, Andrew Dasbur g, Carl Eric Lindin, and Henr y Lee McFee The WAA had immediate impor tance to the village According to histor ian Richard Le Gallienne, “a long cher ished dream of Woodstock artists had been a galler y where they could exhibit their work, fir st for their own benefit as ar tists, in that the y would thus be able to see what their confrères were doing and compare notes, and next that their var ious achievements might be on record for the public at large ”2 One hundred year s later, renamed the Woodstock Ar tists Association & Museum (WAAM), the organization remains at the center of the Woodstock ar tistic community.

The founding constitution of the Woodstock Ar t Association established WAAM’s continuing aesthetic and operating philosophy:

The Ar t Colony of Woodstock, being unique and fortunate among ar t colonies in representing a great

diver sity of aesthetic opinion and var iety of ar tistic expression, including painting, sculpture, the crafts and applied ar ts, has for med an Ar t Association for the purpose of br inging together in an annual exhibition all these ar ts. It is the purpose of the Association in these exhibitions to g ive free and equal expression to the “Conser vative” and “Radical” elements, because it belie ves a strong dif ference of opinion is a sign of health and an omen of long life for the colony 3

Ar tistic diver sity at the WAA star ted with the founder s who, notes Le Gallienne, per sonified the parable of “the lion and the lamb living happily side b y side ”4 It can be said that the whole histor y of French ar t from the 1880s to World War I is echoed in the trajector y from the traditional, symbolist-inf lected Tonalist landscapes of Lindin and Carlson; to the Impressionist landscapes of Frank Swift Chase; to the more progressive, Cézanne-modulated Cubist compositions of Dasburg and McFee. Their works hint at the tension and conf lict that raged for half a centur y in the Woodstock area and across the United States between realist and a bstract, figurative and nonrepresentational styles of painting.

Some of the ar tists who joined the WAA had been or ig inally associated with the ster n culture of Byrdclif fe, and continued to explore the European-or iented

Postcard showing car s in front of the WAA, 1922

Photographer unknown

Woodstock Artists

Association Arch ves

WAA exterior, 2019

Photography by Jef frey

Mi stein

Woodstock Artists

Association Arch ves

styles that predominated at Whitehead’s utopia But the major ity of ar tists who came to the WAA had already inter nalized diver sity of style and freedom of expression from two other sources: the neighboring Maverick Colony in West Hurle y, and the school of the Ar t Students League, which operated in Woodstock dur ing the summer s of 1906–22 and 1947–79.

The Maverick Colony was founded in 1905 on 120 wooded acres in West Hurley, at the southwestern edge of Woodstock, by Hervey White after his separation from Byrdcliffe An original Aquarian,White was a poet, writer, publisher, utopian dreamer, ethical idealist, and canny impresario White was the core of his utopia But in stark contrast to the Englishman Whitehead, White was profoundly American, his lifestyle freewheeling, openhanded, and anti-authoritarian His generosity to artists (musicians, painters, sculptors, writers, actors) was boundless He welcomed penniless artists to cobble together ramshackle houses on the Maverick, and charged them rent of one hundred dollars a year,“if you’ve got it”5 Tom Wolf believes that “In the long run,White’s brand of idealism democratic and bohemian had a greater impact on the character of Woodstock than did the more aristocratic version practiced by Byrdcliffe.”6 T h e ro s t e r o f e a r ly m e m b e r s o f t h e WA A , m a ny i nvo l ve d w i t h

C

Lea gue, reads like a Who’s Who of inf luential ar tists of t

,

, L

o n K ro l l , E u ge n e S p e i ch e r, Z u l m a S t e e l e , E va Wa t s o n - S ch ü t z e , a n d o n . B y 1 9 3 8 , t h e WA A wa s d u bb e d t h e “ l o c a l Louvre”7 by Life Magazine. Into the 1940s, major New York ar t cr itics such as Rober t Coates, Howard Devree, T h o m a s H e s s , Wi l l i

y McBr ide regularly followed and reviewed WAA ar tists’ s h ow s i n N ew Yo rk C i t

A RT n ew s , t h e N ew Yo rk Times, and the New Yorker Some even made the then four-hour tr ip to the villa ge to see WAA shows Woods t o ck wa s m e n t i o n e d i n t h e N ew Yo rk Ti

per iod, wr ites ar t histor ian Karal Ann Marling, “Woodstock’s star was visible over the skyline of New York ”9 In today’s age of global ar t fair s and inter national biennials, of ar t sales that fetch hundreds of millions of dollar s, it’s hard to appreciate Woodstock’s prominence i n t h e N ew Yo rk

through the early 40s.

An all-impor tant de velopment at the WAA dur ing the 1970s was its initiative to for m a per manent collection of work b y deceased Woodstock ar tists from 1900 on. Three remarka ble women combined the vision, energy, and social skills needed to amass a sig-

nificant collection in a ver y shor t time: Aileen Cramer (puppeteer, actress, Town Board member, social activist, and WAA Chairwoman for De velopment of Collection; Lillian For tess (educator, ar t histor ian, and WAA Acquisitions Chairwoman), and Betty Stur ges (painter, nonstop volunteer, and fir st Curator of the WAA Collection) The fir st work accessioned was Big Green Landscape by Ar nold Blanch, given to the WAA in 1973 by his longtime companion, painter Dor is Lee By 1990, the for midable tr io had amassed 600 works of ar t Betty Sturges recalled: “There wasn’t a mor ning we didn’t talk…. We’d go around and call on people and say we wanted a painting.”10 Aileen Cramer descr ibed their r ingleader, Lillian For tess, as “a perfectionist, and tough. If she wanted something done, she’d get it done. We got paintings b y Milton Aver y and Bradle y Walker Tomlin because of Lillian.”11

For tess was also the force behind the publication in 1987 of the fir st catalogue of the WAA’s per manent collection12 by then housed in special storage vaults The Phoebe and Belmont Towbin Wing opened in 1992 to present exhibitions highlighting the collection, which today number s over 2200 works in all media, mostly donated by ar tists, their families, and local collector s Today, WAAM is a member of the Hudson Valle y Visual Arts Collections Consortium (HVVACC), which has cre-

ated a collaborative online collections database, making ar t of the region accessible to scholar s, students, and the general public

WAAM entered the twenty-fir st centur y with the complex challenge of balancing the needs of a small or ganization with a museum-quality collection and a member ship whose bir thr ight includes “strong dif ference of opinion ” Both are alive and well at an or ganization whose “unbiased eclecticism”13 continues to present exhibitions and rele vant contemporar y progra m s s u ch a s R

Inaugurated in 2017, Radius 50 is an ambitious exhib i t i

ar tists of the Mid-Hudson and Catskills reg ion. It prov i d e s a n o ve r v i ew o f h o w c o n t e m p o ra r y a r t i s t s w i t h i n a f i f t y - m i l e ra n ge a re c o n t r i b u t i n g t o t h e u n fo l d i n g n a r ra t i ve

f a r t i n o u r t i m e . H ab i t a t fo r A r t i s t s , fo u n d e d b y S i m o n D ra p e r, i s a n a t i o n a l p rogra m w h i ch c re a t e s s m a l l p o p - u p a r t i s t s t u d i o s i n unexpected sites, demystifying ar tists and their work

b y e n a bl i n g i n fo r m a l d i a l o g u e s b e t we e n a r t i s t s a n d t h e i r l o c a l c o m m u n i t i e s T h e WA A M e d u c a t i o n p r ogram enga ges 750 students yearly, and, in par tner ship with a large regional network of schools, librar ies, and local or ganizations, is creating the next generation of ar tists and museum-goer s

Edward Millman, S dney Laufman

Her man Cher r y, Doris Lee, Fletcher Mart n, Karl Fortess and Ar no d B anch planning one of the Woodstock Art Conferences, c 1948 Photograph by Mi ton H Wagenfohr Woodstock Artists Association Arch ves

High school students v sit WAAM Photograph by Jennifer Wentland

WAAM’s contr ibution to the exhibition Woodstock Collects, titled An Artistic Legac y: 1+1+1 and curated by executive director Janice La Motta, presents threetiered groupings based on a work of a histor ic Woodstock artist from the WAAM collection, the work of one of that ar tist’s descendants, and the work of a contemporar y ar tist selected by the descendant

Notes

1 Karal Ann Marling,“Introduction,” in Woodstock An American Ar t Colony, 1902–77 (Poughkeepsie: Vassar College Ar t Galler y,1977), n.p.

2 Richard Le Gallienne, Woodstock, an Essay (Woodstock: Woodstock Ar t Association, 1923), 16-17

3 Preamble to Constitution, 1922 WAA Archives

4 Le Gallienne, 19

5 Eugene Ludins Woodstock ar tist (1904–1996) resident of the Maver ick and of Woodstock; mar r ied to sculptor Hannah Small This quote is from Ludins’s filmed recollections in Cambiz Khosravi’s 1987 documentar y a bout the Maver ick Colony, Woodstock: From Plough to Easel.

6 Tom Wolf, Woodstock’s Art Heritage: T he Permanent Collection of the Woodstock Artists Association (Woodstock: The Overlook Press,1987),19 The list of artists who settled n the Maver ick throughout the 1920s includes Har r y Gottlieb; Ar nold and Lucile Blanch Eugenie Ger shoy Carl and Helen Walter s; Austin Mecklem and Hannah Small John Flannagan; Wendell and Jane Jones; Eugene Ludins, and Grant Ar nold With the ear y member s of the WAA for nearly two decades the y brought fame and matur ty to Woodstock as an ar t colony

7 “Woodstock Catski l Colony Has Nur tured Some Great Names,” Life Magazine (August 22, 1938): 24 The ar ticle shows a photo of the galler y’s facade, calling it the “local ‘Louvre’” and commenting on the passionate ar t controver sies that character ized the annual summer exhibits

8 https://www.woodstockar t.org/about/histor y/

9 Marling, n p.

10 “A Strong and Br ight Spir it: Lillian For tess Dies at 86,” Woodstock Times (March 1, 1990): 8 For a thorough examinat on of the building of the WAA’s per manent collection, see Br uce Weber,“Making It Per manent: Community, Family, Fr endship, and the Building of the Col ection of the Woodstock Ar t sts Association,” in Woodstock Artists Association One Hundred Years of Community and Art (Woodstock:Woodstock Artists Association, for thcoming 2019).

11 Ibid.

12 I was proudly involved with this WAA publication as a catalogue entr y wr iter at the invitation of Tom Wolf

13 Le Gallienne,19

An Ar tistic Legacy: 1+1+1

Janice La Motta Exhibition curator

Executive Director and Curator of the Per manent Collection, Woodstock Ar tists Association & Museum

The WAAM celebrates its centenar y year in 2019 and, as the banner s on the front of our building announce, we ref lect proudly upon one hundred year s of creativity, histor y, community, and ar t In the spir it of our centennial year we have planned an exhibition that honor s the ar tists of the past, present, and future An Artistic Legac y: 1+1+1 presents groupings based on the work of a histor ic Woodstock ar tist, the work of one of their descendants, and the work of a contemporar y ar tist selected by the descendant. The Woodstock Ar tists Association was founded in 1919 b y five ar tists with a commitment to provide galler y space to present the work of the many ar tists who had migrated to Woodstock to live, work, teach, and study. The Woodstock Artists Association’s commitment to ser ve ar tists and to provide a platfor m for the exhibition of their work has endured; and the ar t colony of Woodstock has fostered generations of working ar tists and an espr it de corps among the many ar tists who chose to make the region, and specifically Woodstock, their home

A culture of creativity and an intimate sense of community have always been per vasive in Woodstock Children were bor n into families of ar tists and shared a life among ar tists It is no wonder that exposure to such a community resulted in many descendants themselves

pur suing a life in the creative ar ts An Artistic Legac y: 1+1+1 presents the work of eight artists and artist couples who lived and worked in the Woodstock environs along with descendants for whom an ar tistic life was a natural extension and pur suit The exhibition, using a three-tiered presentation of ar tworks, also celebrates the continuity of community and ar t-making

Among the ar tists represented in the exhibition are ar tist couples that include Manuel and Jane Dow Bromberg, Austin Mecklem and Marianne Appel, Milton and Sally Michel Aver y, Wendell and Jane Jones, Rober t Angeloch and Nancy Summer s, and Br uce Cur r ie and Ethel Magafan. Each of these couples had children who became ar tists. In addition to honor ing the ar tistic lineage of the community, this exhibition ser ves to create a dialogue, and to consider connections, among the selections. In se veral instances visitor s will note the commonality and continuity of ar tistic traits, whether stylistic or thematic, as in the abstracted treatment of the natural world in the selections representing the Bromberg lineage or in the commitment to realism represented by the selections from the Jones family

Perhaps the most str iking suggestion of ar tistic herita ge can be seen in the selections representing the Aver y family The dominant assertion of color and form are represented in all four paintings in the exhibition,

Edward Chavez in sculpture demonstration in Woodstock Artists Associat on galler y, c 1965 Photograph by Adr an Siegel Woodstock Artists Association Archives

Habitat for Artists resident Roberta Z emba doing a community pro ect, 2016

Photograph by Beth Humphrey

with a str iking visual connection between Milton Aver y’s Dark Birds, Dark Sea of 1959 and his grandson Sean Cavanaugh’s painting, Souther n Str ucture, dated 2018 The same blues and blacks appear in each painting along with a shared simplification of for ms, though each applied these toward a dif ferent resolution The thirty works that comprise the exhibition distill earlier sensibilities that inf luenced the work of the descendants, giving way, in tur n, to an examination of their aesthetics as represented by their +1 choice.

WAAM’s commitment to the histor y and legacy of the ar tists of the Woodstock Ar t Colony is most notably represented through its landmark Per manent Collection. The collection of over 2,000 objects including paintings, works on paper, sculpture, photography, and decorative ar ts chronicles the work of over 420 ar tists from the tur n of the twentieth centur y to the present day Some of the selections in the exhibition are drawn from the Per manent Collection all g ifted works from pr ivate collections All of the histor ic ar tists in this exhibition are represented in the Per manent Collection

WAAM’s exhibition schedule provides a platform for contemporar y ar tists working in the reg ion today Through a var ied annual exhibition schedule and premier exhibitions that sur ve y the contemporar y ar t of

the region, WAAM continues to embrace the present and future of ar t-making in the region while honor ing the r ich histor y of its past An Artistic Legac y: 1+1+1 of fer s the viewer an introduction to the work of some of the prominent ar tists working in Woodstock from the early 1940s and into the later twentieth centur y while commemorating the continuation of that ar tistic spir it in the output of contemporar y ar tists working today.

Ethe Magafan 1916–1993

Mountain Waters, 1970

Tempera on masonite

25½ x 43½ in Col ection of Jenne M Cur rie

Br uce Cur r e 1911–2011

Portrait of the Artist s Wife 1960s

Acr ylic on watercolor board mounted on masonite 39¾ x 37 in Woodstock Artists Assoc ation & Museum

G ft of Jenne M Cur rie

Jenne M Cur rie, b 1956

Retsina and Fruit 1998

Acr yl c, copper and wood on masonite 49 x 39 x 4 n Collection of the artist

Melanie De gado b 1977

Mountain Range of Misunderstanding 2019

O l on canvas, 36 x 36 in Collection of the artist

Histor ical Society of Woodstock

Established 1929

The y say that the coming of the ar tists will change Woodstock,”1 young Will Rose speculates in his char ming memoir of the village around 1900. And the ar tists did change Woodstock, forever What is wondrous about Woodstock’s histor y is the relatively shor t time it took before the ar tists feared for their godless, freethinking ways integrated themselves into ever y aspect of the village’s life.

As neighbor s, landholder s, paying customer s, teacher s, volunteer s, community organizer s, and fr iends ar tists were tolerated, then accepted, into the str ict, relig ious, Dutch-settled community with astonishing equanimity, and quite swiftly Richard Le Gallienne describes how far mer s treated artists hospitably, giving “the freedom of their pastures and woodlands to painter s with their umbrellas” and quotes a far mer named Levi Harder saying to John F Carlson: “I never noticed that the sky was blue until you fellows came ”2 JoAnn Margolis, longtime Woodstocker and archivist at the Histor ical Society of Woodstock, descr ibes the development of this af finity between ar tists and local residents thus:“Phase One was about exchange of ser vices for mutual benefit, for example ‘you need a studio, I’ll rent you my bar n.’ Phase Two shifted from the pecuniar y to the per sonal: once interaction happened, commonality was esta blished.” 3 Richard Heppner, Woodstock Town Histor ian since 2001, a scholar and

obser ver of the layered interaction between the residents and artists who animate the village, has this interesting take:

Woodstock is a small town, and yet our histor y is wr it large with the contr ibutions of those who would see life through a slightly dif ferent lens. It is also a histor y that has seen those views shaped b y connections for med between the newly ar r ived and those who drew life and livelihoods from the ver y landscape that would find its way onto a multitude of canvases over the year s As a result it is a histor y that has transcended great change while remaining grounded in its or iginal purpose; a histor y in which we under stand we are not separate from our past but are an integral par t of a combining exper ience that becomes our community.4

In 1929, seven ar tists, an ar tist’s widow, a scientist, and a professor founded the Historical Society of Woodstock: Mar ion Bullard, Florence Ballin Cramer, Konrad Cramer, Jenny Har r ison, Carl Er ic Lindin, Henr y Lee McFee, Mar tin Schütze, Zulma Steele, Eva WatsonSchütze, and Br uno Zimm set about building a plan to preser ve the stories of Woodstock. Tom Wolf considers the founding of the Society “an indication of the colony’s sense of matur ity.”5 The founder s recognized that the ar r ival of Ralph Whitehead, Her ve y White, and their follower s had brought major transfor mations

which should be recorded and preser ved while the ke y agents of change were still alive

In the Histor ical Society’s mission statement, under “Our Values,” one in par ticular stands out: community involvement 6 Anyone who visits the Society can bear witness to the passion and generosity that the volunteer-r un organization inspires. Well-trained volunteer s help archive, file, and research the archival collection at their headquarters, the Eames House on Woodstock’s Comeau proper ty. As the Society’s programs have expanded dramatically over the past five year s, volunteer s also help install exhibitions, ser ve guests at events, organize fashion shows and model in the same, bake cakes, set up sound equipment in shor t, much of what needs to be done is executed by volunteer s Woodstock native, board chair, and guiding spir it Deborah Allen Heppner descr ibes the Histor ical Society’s board over the year s as a mix of local ar tists, old Woodstock family member s, and a var iety of “transplants” who love Woodstock and its histor y She has organized Woodstock Collects: Heritage T hrough Art, an exhibition tr ue to the Histor ical Society’s mission and the or iginal goal of this multi-venue exhibition: to uncover treasures from pr ivate collections Heppner asked for mer and cur rent board member s to submit works of special significance, per sonal or histor ical,

from their homes Woodstock Collects: Her itage T hrough Art thus comes with a special context: wr itten stor ies b y the owner s of how the ar tworks, b y famous artists or not, came into their possession A special section of the show presents works by the Historical Society’s ar tist founder s, to whom the exhibition is dedicated.

Notes

1 Will Rose, The Vanishing Village (New York:The Citadel Press, 1963), 15

2 Richard Le Gallienne, Woodstock an Essay (Woodstock: Woodstock Ar t Associat on, 1923), 14-15

3 Based on a phone inter view with JoAnn Margolis, May 5, 2019

4 Richard Heppner, “Histor y’s Journey” in Seldom Seen: Works from the Collection of the Historical Society of Woodstock, Selected by Susana Torruella Leval (Woodstock: Woodstock School of Ar t, 2014), 7 Like the previous town histor ian, Alf Ever s, Heppner has great respect for the contr ibution of ar tists to Woodstock

5 Tom Wolf, Woodstock s Art Heritage T he Permanent Collection of the Woodstock Artists Association (Woodstock: The Overlook Press,1987), 26

6

/ miss on

Her ita ge Through Ar t

Histor ical Society of

Woodstock

Deborah Heppner

Exhibition Curator

Board President, Histor ical Society of Woodstock

At the fir st meeting of the Histor ical Society of Woodstock on September 20, 1929, it was determined that the purpose of the newly for med group was to collect and preser ve the stories of Woodstock’s diver se histor y While the mission of the Historical Society has broadened over the last ninety year s to include maintaining and expanding its archives and presenting exhibitions and programming on Woodstock histor y, the initial desire and intent to continue to “collect the stor ies” remains strong in ever y activity the Histor ical Society under takes.

With this in mind, the Histor ical Society looked at how it could best collaborate with other community arts organizations through the Woodstock Collects project and remain tr ue to the Society’s mission. The goal of this joint exhibition is to showcase the diver se and extraordinar y works of Woodstock artists that exist not in the collections of the par ticipating institutions, but in the homes of Woodstock residents

Without knowing what would be found, Historical Society board member s, both past and present, were asked to submit Woodstock artwork from their personal collections to be considered for this exhibition They were asked to select works that had particular meaning to them and that came with a per sonal stor y of how or why the artwork became part of their collections

The Histor ical Society board has always included a diver se mix of local artists, old Woodstock family member s, and those “transplants” whose love of Woodstock includes an appreciation and interest in the many facets of Woodstock histor y In looking at Woodstock histor y, especially the last one hundred-plus year s, one can see the inf luence of the ar t colony e ver ywhere

Local ar t hangs in our restaurants, in our banks, in our town of fices, in the homes of ser ious collector s and also in the homes of ever yday people. Appreciation of ar t has become a Woodstock tradition.

The histor y of Woodstock as a community has been well recorded in images of its buildings, its landscape, and in the many por traits of Woodstock residents. There are few topics about which the Histor ical Society cannot mount an exhibition using ar twork and photographs as a means of telling a stor y about a specific aspect of Woodstock

The Histor ical Society of Woodstock’s contr ibution to the Woodstock Collects exhibition, Her itage T hrough Art, includes ar t by both the famous and not so famous The exhibition will include work acquired as gifts, as payment for work done, as pr ized purchases and as pieces of impor tance to a family’s histor y The exhibition will celebrate the creativity of parents, grandparents, fr iends, and neighbor s as well as the

admiration this community shares for the many great ar tists who are an impor tant par t of our past Kathy Longyear, for mer HSW board president, submitted a lithograph done in the late 1920s by Elizabeth Woiceske titled Our Village In it is depicted the Woodstock Bus, owned and operated b y her husband’s grandfather Stanle y Longyear This work represents a piece of the Longyear family histor y and is a treasured work in her ar t collection. I submitted a small oil painting by Allen Dean Cochran titled Summer Sunshine. This luminous image of sun filter ing through the trees was given as payment for room and board at my family’s boarding house. Passed down through several generations, the Cochran was the fir st piece in my own ar t collection. Board member Sue Reynolds submitted two pieces done b y family member s: one b y her mother Cather ine Mur ray Ostrander and one by her husband Mike Re ynolds’s grandmother Genevieve Shultis, created at a ge fifteen Both ima ges have been lovingly cared for and hang alongside the work of more famous Woodstock ar tists in the Re ynolds family home Board member Letitia Smith volunteered to help work with a writer researching the lives of Wilna Her vey and Nan Mason In the course of this project she came to admire the lives and work of these two women and purchased two enamel pieces: Abstract Guitar by Nan Mason and

Beach Scene by Wilna Her vey In keeping with the original mission of our founder s, each of these pieces, as well as the many other s in this exhibition, will be accompanied by words from its collector, shar ing their per sonal stor ies on the impor tance of the piece

As the Histor ical Society celebrates its ninetieth anniver sar y in 2019, the exhibition will also include a sampling of work created b y several of the Society’s founder s. Their work, including Zulma Steele’s Overlook Mountain, Florence Ballin Cramer’s Knife and Fork Restaurant, and Carl Er ic Lindin’s Old Farm will remind us of the tremendous appreciation and love of community these founder s had for Woodstock. We dedicate this exhibition to them.

ard E Al en 1860–1933

Overlook Mountain, n d

Josephine Bar nard 1869–1955

Untitled 1929 Oil on canvas, 24 x 30 in Collect on of Jean Wh te

Paul Ar ndt 1881–1971

A len Dean Cochran 1888–1971

Summer

n

Facing page

Emile Gr uppe 1896–1978

Unt t ed, n d

Oil on board, 12 x 16 in Collection of Deborah and Richard Heppner

Ruth Heppner 1925–2006

Unt t ed, n d

Watercolor 15 x 22 in Collection of Deborah and Richard Heppner

E O Drogseth 1874–1948

Valhal a, 1943

Pen and ink, 9 x 13 in Co lection of Karen Vos

Gurdon Howe 1903–1986

Twine’s Bookshop and Artist Supp ies, 1968

Watercolor,

Facing page

Pamela Vinton Ravenel 1883–1955

T he Irvington Inn c 1945

Watercolor 12 x 18 n

Co lection of Kathy Longyear

An ta M Smith 1893–1968

Washington Square, n d

O l on board 8 x 10 in

Estate of Anita M Sm th, Weston Blelock and Ju ia Blelock

W lna Her vey 1894–1979

Beach Scene, 1965

Enamel on copper 8 x 10 in

Co lection of Letitia Smith

Sy va Hutchins 1925–2013

Elizabeth’s Garden, 1973

Pastel on sanded paper 7 x 8 n

Collect on of Kar yn Bevet

Woodstock

School of Ar t

Established 1968

The Woodstock School of Ar t, Inc is a renowned educational institution providing fine ar ts instr uction by over for ty professional ar tists to 850 students each year Or ig inally founded in 1968 b y four ar tists: Rober t Angeloch, Franklin Alexander, Lon Clark, and Wallace (Jer r y) Jerominek, the School continues to expand its offerings in the beautiful studios situated on thir ty-eight acres listed on the National Registr y of Histor ic Places The site previously housed the retur n of the summer school of the Ar t Students Lea gue from 1947 through 1979.

The bluestone campus has a proud histor y.The corn e r s t o n e wa s l a i d o n t h e s i t e i n 1 9 3 9 , w i t h E l

n o r Roose velt presiding, to be used as a training center of the National Youth Administration, par t of President Franklin Delano Roose velt’s New Deal. The program had selected Woodstock as a site for its crafts school

b

ra f t s for Amer ica ”1 At highest capacity the school housed 9 0 yo

keta ble skills such as blacksmithing, stone quar r ying and car ving, metal and woodwork, weaving, and wool processing

Today, eighty year s later, the Woodstock School of Ar t attracts 850 ar t students yearly, pr imar ily from the Hudson Valle y, still drawn to Woodstock’s landscape and to its fame as a longtime ar t colony Also tr ue to

Woodstock is the entirely ar tist-r un nature of the WSA

Its founder s were ar tists, and all cur rent staf f and of ficer s are ar tists as well The School’s website notes that

“Each class is an ar tist’s atelier combining the instr uctor’s viewpoint with the free and open dialogue necessar y for ar tistic creativity ” The high values of individuality and free expression der ive from the school’s deep roots and distinguished legacy relation to the Ar ts Students Lea gue in New York, one of the earliest and most important art schools in the countr y WSA functioned as the home of Summer School of the Ar t Students League, from 1947-79. Earlier, in 1906, The Ar t Students League of New York had moved its summer classes from Old Lyme, Connecticut to Woodstock, and operated in buildings in town till 1922. The momentousness for Woodstock of this move b y the Lea gue cannot be overestimated Karal Ann Marling consider s it ”the most impor tant agent in the development of a new Woodstock colony and in the eclipse of Byrdclif fe ”2

Lovell Bir ge Har r ison, a for mer Byrdclif fe teacher, promoted the move and grandly announced his leader ship of the “Woodstock School of Landscape Painting” where, according to his perhaps inf lated claim,“for the fir st time in the histor y of ar t, landscape painting is g iven the same ser ious attention which has from

time immemor ial been accorded to the teaching of figurative painting.”3 The League’s School of Landscape at Woodstock, and its tradition of plein air painting, started with twenty-five students in 1906. By 1912, two hundred students were registered, and the school’s reputation drew hundreds of ar tists from New York City and the region 4 The WSA has continued the tradition of teaching plein air landscape painting, a sought-after of fer ing

The mid-1920s saw Woodstock’s coming of age as an ar t colony An ar t magazine wr iter noted the presence in Woodstock of at least three ar t schools and “its ver y own ar t galler y”5 not to mention two str ing quar tets, two theatres, four tearooms, and a weekly market fair The theatres and str ing quar tets were active at the two or iginal hubs, the Byrdclif fe Colony up the mountain and the Maverick Colony in West Hurle y,6 while the ar t galler y referenced was of cour se the Woodstock Ar tists Association.

I n 1 9 2 2 , a ye a r a f t e r t h e WA A’s fi r s t ex h i b i t i o n a t 2 8 Ti n k e r S t re e t , t h e A r t S t u d e n t s L e a g u e l e f t Wo o dstock, citing the high cost of maintaining a summer venue outside New York City. As a result, the ar tistic community fur ther fra gmented into factions and circles advocating dif fer ing aesthetic interests and styles Fo r m e r p r o fe s s o r s a n d s t u d e n t s f r o m t h e L e a g u e fo u n d e d s e ve ra l s ch o

l

:

Wo

S

l o f Pa i n t i n g ( C h a r l e s R o s e n , H e n r y L e e M c Fe e , a n d A n d

f L

s c a p e Pa i n t i n g ; a n d a n o t h e r l

Henr

Mattson, Konrad Cramer, and Yasuo Kuniyoshi.7

progressives and the conser vatives among Woodstock

r t i s t s a d i v i s i o

t h e r p l aye d

t i n t h e i r re a ctions to seeing the New York Ar mor y Show of 1913, which introduced avant-garde European ar tists such as Picasso, Matisse, Duchamp, Gauguin, Van Gogh, and Cézanne to the U S and brought about a tur ning point in its ar t histor y 8

The ar tistic community of Woodstock suf fered greatly dur ing the year s of the Depression, despite its active par ticipation in the Federal Ar t Project of Roose velt’s jobs-creating Works Progress Administration (WPA).9 The de vastation of World War II fur ther impacted Woodstock ar tists, many of whom ser ved in the ar med forces in Europe and in the Pacific.10 But in the late 1940s, a huge boost of energy hit the f lagging ar tistic community, thanks to the catalytic actions of ar tist Ar nold Blanch

B l a n ch a d vo c a t e d a rd e n t ly fo r t h e A r t S t u d e n t s Lea gue to reinstate its summer school in Woodstock

His exer tions were successful and in 1947, the Lea gue

re o p e n e d i n t h e Wo o d s t o ck S ch o o l o f A r t ’s p re s e n t

q u a r t e r s T h e n ew ge n e ra t i o n o f a r t i s t i n s t r u c t o r s

i n cl u d e d m e m b e r s o f Wo o d s t o ck ’s p o s t w a r a r t i s t i c

elite, and the y ushered the town’s ar tistic community

i n t o m o d e r n i t y I n s t r u c t o r s i n p a i n t i n g a n d d raw i n g

who exper imented with progressive concepts of fig-

u ra t i o n a n d l a n d s c a p e i n cl u d e d Fra n k l i n A l ex a n d e r, Rober t Angeloch, Lucile Blanch, Yasuo Kuniyoshi, Sid-

n e y L a u f m a n , F l e t ch e r M a r t i n , Jo h n P i k e , Fra n k J Reilly, John W Taylor; sculptor Paul Fiene also belongs

t o t h i s gr o u p o f fo r w a rd - t h i n k i n g f i g u ra

Ar tists Paul Burlin, Edward Chavez, Philip Guston, Sigmund Menkes, Edward Millman, William Pachner and Wa l t e r P l a t e we

the stylistic voca bular y of Abstract Expressionism

world fore ver.

The Art Students League closed its Woodstock door s for the last time in September of 1979 Rober t Angeloch, a magnetic artist who had taught landscape painting at the League for fifteen summer s, went into high gear and picked up the char ge He led a passionate group of ar tists, and local business leader s and politicians to secure a lease, incorporate the school as a nonprofit, and reopen at the same site in 1981 as the Woodstock School of Ar t, after only one inactive season 11

The philosophy of the Ar t Students League in New York was expressed b y Stuar t Klonis, its director for thir ty-four year s:

The individuality of the ar tist is his most precious possession He must be constantly on guard that this individuality be retained, that it is not popular ized or cheapened. He must be true to himself according to his own standards His is the last free spir it left in our society It is the responsibility of the League to protect and encourage this spir it.12

As heir to the Lea gue tradition, the Woodstock School of Ar t encourages individuality and freedom of expression, the school’s philosophy being to encourage each student to find his or her own way. There are no entrance requirements or set cur r icula. Kate McGloughlin, instr uctor of landscape painting and pr intmaking and an animating spir it of the Woodstock

School of Ar t, descr ibes the continuity and contemporaneity of the school today:

Having studied with Rober t Angeloch, I’m in the direct linea ge that dates back through Carlson to Bir ge Har r ison, and it’s a her ita ge I take ser iously Landscape painting has come in and out of fashion, but has always had a place in Woodstock’s histor y. . . . When I teach, I’m careful to acknowledge these giants on whose shoulder s I stand, and the impact the y had on Amer ican ar t histor y. At the Woodstock School in general, one of the things I’m most proud of is being on that continuum; ensur ing a place for ser ious ar t histor y to continue, and in fact f lour ish, in Woodstock, one of Amer ica’s oldest and most endur ing ar tists’ colonies 13

Painter and sculptor Jenne M. Cur r ie, another instructor at the school and heir to one of Woodstock’s great ar tistic dynasties, has curated the exhibition T he Ar t Students League in Woodstock 1947–79 for the Woodstock School of Ar t’s contr ibution to Woodstock Collects In it we witness the energy and talent, as well as the tensions, of the new generation of ar tists who revitalized the school after World War II

Notes

1 Po ly Kline, T he Art Students League in Woodstock: A Short Histor y for the Woodstock School of Art (Woodstock: Woodstock School of Ar t, 1987), 4 Here the source of Woodstock’s reputation surely stemmed in great par t from Byrdclif fe’s early, if br ief, fame in metalwork and fur niture making

2 Karal Ann Marling,“Introduction,” in Woodstock An American Ar t Colony, 1902-77 (Poughkeepsie: Vassar College Ar t Galler y,1977), n p

3 Lovell B rge Har r son quoted in Wolf, 19.

4 A ser ies of prominent ar tists led the Ar t Students Lea gue throughout its fir st per iod of residence in Woodstock (1906–22): Lovell Birge Har r ison (1906–11); John F Car son (1911–17); Charles Rosen (1918–22); Andrew Dasburg (1919–20); Hayle y Lever (1921) For factual infor mation regarding this per iod, I have relied on Polly Kline’s excellent shor t pamphlet, The Art Students League in Woodstock: A Short History for the Woodstock School of Art I thank Jenne M Cur r ie for br inging it to my attention.

5 Ibid., 1-2

6 Operating since 1916, Maver ick Concer ts is the oldest continuous summer chamber music series in the U S and a living her itage of the Woodstock colony’s earliest year s

7 Other ar tists who founded ar t schools of var ying impor tance and viability dur ing this per iod were painter s Cecil Chichester, Walter Goltz, William Arlt, and Alexander Archipenko, Ukrainian sculptor of inter national fame, who founded a school in Bear sville, where he taught from c.1938–47.

8 All ser ious Woodstock ar tists would have visited the Ar mor y Show and for med an opinion on the raging issue of abstraction versus figurat ve painting An excellent discuss on of this per iod is Josephine Bloodgood’s Embracing the New: Modernism’s Impact on Woodstock Ar tists (Woodstock: Woodstock Ar tists Association and Museum, 2013)

9 Eugene Ludins called the Federal Ar t Project “the biggest payroll in Woodstock, and one of the biggest WPA ar t projects in the countr y ” Quoted in Marguer ite Culp,“Work Project Captures the Spir it of Woodstock in the Depression Era,” Woodstock Times (August 22, 1985)

10 Woodstock ar tists who ser ved in the war include Rober t Angeloch, Manue Bromberg, Edward Chavez, Br uce Cur r ie, Karl For tess, Boyer Gonzales, Eugene Ludins, John McClellan, John Nichols, Tomas Penning, Walter Sarf f, Reginald Wilson, and other s

11 I am grateful to ar tist and board member Paula Nelson’s keen memor y in reconstr ucting th s histor y She was both a student at the Ar t Students League and involved with the Woodstock School of Ar t at its founding in 1968 She functioned as registrar to both schools and ser ved in various offices at WSA, including as de facto director

12 Stuar t Klonis, The Metropolitan Museum of Ar t Presents the 75th Anniversar y Exhibition of Painting and Sculpture by 75 Artists Associated with the Art Students League of New York (New York: Ar t Students League, 1951)

13 Kate McG oughlin, email communication, June 10, 2019

Art Students League 1947 from HSW archives

1 Sophie Siege 2 Phil p Fitzpatrick

3 (obscured) 4 Sara Kun yosh

5 Howard Mandel

6. Br uce Cur rie

7 Her man Cher r y

8 Arthur Za denburg

The Ar t Students Lea gue in Woodstock 1947–79

Jenne M. Cur r ie

Exhibition Curator

Instr

uctor, Woodstock School of Ar t

It is 1947 and the end of World War II has given way to the Baby Boom era. Young people, their lives having been disrupted by the war, are striving to reinvent themselves. Retur ning GIs are reconnecting with their sweethear ts and searching for somewhere to star t a family.

In New York City, the Ar t Students Lea gue exper iences an inf lux of new enrollees thanks to the generous funding of the GI Bill Meanwhile in Woodstock, Ar nold Blanch, a Lea gue instr uctor and prominent ar tist, noted the aging population of his village He persuades Stuar t Klonis, director of the League, to reopen its summer school in Woodstock which, in its fir st incar nation, operated from 1906–1922 The reopening of the Lea gue’s Woodstock school in 1947 ser ves to lessen overcrowding in its New York City venue while offering Woodstock an infusion of youthful energy The impressive roster of notable artists teaching at the summer school attracts students to the Catskill Mountains from all over the countr y, while other young ar tists are drawn to the area to follow in the footsteps of elder statesmen George Bellows, John F. Carlson, and Eugene Speicher.

By the late 1940s, Abstract Expressionism the fir st Amer ican-bor n movement in a bstraction is rocking the art world. Artists who enthusiastically embrace this

radical new ar t for m clash verbally and passionately with traditional realist painter s. This is a highly social era in Woodstock: ar tists frequently interact at dinner par ties, in the local pub, and at the famed Ar t Students League balls. While quantities of cheap wine are consumed, the future of painting in Amer ica is fever ishly debated replete with fist-pounding and stor ming out of social gatherings. It is hard to imagine, in the current a ge of limitless for ms of ar tistic expression, how disr uptive this homegrown ar t movement was to Amer ican culture at that time

Woodstock ar tists regularly visit one another's ar t studios to discuss works in progress and the latest trends in New York City galler ies and museums Thus a cr itique which Lea gue instr uctor Edward Millman may have given one of his students on any given day could well have been inf luenced b y a recent visit to Mar ion Greenwood’s studio or a discussion over dinner at the home of Ar nold Blanch Lea gue students were exposed to ideas that emanated from far be yond the per sonal taste of a par ticular instr uctor.

Over the year s, the roster of instr uctor s continually shifts and by the mid–1960s, Rober t Angeloch begins teaching at the League’s Woodstock branch. Angeloch will be a consistent presence at the ar t school for the next fifteen year s, exerting a conser vative inf luence on

the institution while also teaching at the Woodstock School of Ar t, then located on Millstream Road.

In the 1970s, the League, coping with the challenges of finding af fordable housing for its students, begins to exper ience a decline in enrollment and by 1979 it is forced to close its door s. As the vacant studios languish, Angeloch for mulates a plan to preser ve the proper ty b y purchasing the buildings. Once he has achieved this complex goal, the Woodstock School of Ar t moves into the roomy campus After only a twoyear hiatus, the studios are once a gain bustling with creative energy

Eight year s after Angeloch’s passing in 2011, the WSA is thr iving the campus buildings have undergone a loving restoration, new instr uctor s are being added, and the student body steadily grows Due to the ef for ts of Rober t Angeloch and other s, the 38-acre proper ty has exper ienced an almost uninter r upted 72year r un as a vital element in Woodstock’s ever-changing ar t scene.

In T he Art Students League in Woodstock 1947–79, work by League instr uctor s is juxtaposed with that of their creative circle. The dynamic tension between ar tists who resisted a bstraction and those who embraced it is highlighted by their works being exhibited side by side. These inter twining relationships are

explored through nearly sixty exceptional works: from a traditional portrait painting by Marion Greenwood to an Abstract Expressionist work on paper by Philip Guston, from intimate lithographs by Yasuo Kuniyoshi to a bold assemblage painting by Br uce Dorfman. This last ar twork br ings the exhibition’s timeline into the twenty-fir st centur y, as it was created by Dorfman in 2017. Dorfman and his colleague Richard Mayhew, also featured in this exhibition, are the last living Lea gue instr uctor s from this era

As a painter, sculptor, ba b y boomer, and daughter and niece of four post-war Woodstock ar tists, I was fortunate to be raised in this fer tile creative milieu Humbled b y the task at hand, I hope our contr ibution to Woodstock Collects will br ing to life the vital role that instr uctor s at the Ar t Students Lea gue in Woodstock, and their peer s in the ar tistic community, have played in the town’s r ich cultural histor y

Robert Angeloch 1922–2011

Ostego, 1968

Oil on canvas, 11½ x 15½ n

Collect on of Maur y Moncure

Ar no d B anch 1896–1968

Island Landscape, c. 1960

Oil on canvas, 42 x 34½ in

Collect on of Ann Roberts Blanch Braun

Edward Chavez 1917–1995

Oljate, 1972

Car ved wa nut, 24 x 16 x 45 n

Collect on of Ma a Chavez Larkin

Br uce Dorfman b 1936 October Rising, 2017

Assemblage painting, 59 x 36½ n Co lection of the artist

Yasuo Kun yosh 1889-1953

Before the Act, 1932

L thograph, 13 x 9¾ in Collect on of Stephen and Charlotte Diamond

Marion Greenwood 1909–1970

Portrait of Amy (Smal ), 1952

Oi on canvas, 23¾ x 17½ in Col ection of Elisabeth Smal

R chard Goetz 1915–1991

T he Iron, 1970

O l on canvas, 14 x 18 in

Co lection of Mar y Anna Goetz and James Cox

Philip Guston 1913–1980

T he Room 1958

Gouache on paper, 21 8 x 2978 n

Private collect on

Center for Photography at Woodstock

Established 1977

f the four institutions discussed in the preceding pa ges thr ived on continuity and connections with the past, the fifth and youngest, the Center for Photography at Woodstock (CPW), was nourished from the fir st by newness and experimentation It was the brainchild of Howard Greenber g and cofounder Michael Feinber g, two young photographer s who could not find a place to show photographs in town Greenberg, a photographer for the Woodstock Times, went searching for coveted issues of Alfred Stieglitz’s jour nal Camera Work1 in the area, found three or iginals, sold them profitably and, with the $5,000 generated by their sale, founded CPW in 1977.2 As CPW’s venue, Greenber g and Feinberg chose an 1825 building on Tinker Street with a fascinating histor y, artistic and otherwise: among other identities, it ser ved as the Woodstock Librar y and the Espresso Café, famous to Woodstocker s as where Bob Dylan wrote some of his songs 3 Early CPW suppor ter s were now well-known galler ist James Reinish and Karl Berger from the Creative Music Studio The New York State Council on the Ar ts was an impor tant early funder Howard Greenberg was born to be an art dealer, and in 1981 he left CPW to open Photofind (now the Howard Greenberg Galler y), a pioneering photography galler y 4 Greenberg is proudest of having created and

developed a moder n market for fine ar t photography within one of the most fiercely competitive ar t environments in the world Over the cour se of his life’s work, Greenberg has successfully created three dif ferent collections Be yond that of his galler y, he has donated a histor ical collection of 1200 works to the Samuel Dor sky Museum of Art at SUNY New Paltz The Museum of Fine Ar ts, Boston recently acquired his collection of 447 photographs of moder nist masterpieces and mid-20th centur y classics.

Greenberg’s immense contr ibution to photography has been his lifelong examination and presentation of the “living histor y” of photography from Pictor ialism to moder nism. His fir st exhibition for CPW, and fir st love, was pioneer photographer Eva Watson-Schütze. He descr ibes being smitten upon seeing WatsonSchütze’s platinum pr ints:

I could say that my introduction to Eva WatsonSchütze’s photography changed the cour se of my life In 1975, when I was a young photographer, and knew little about the medium’s histor y. . . I had never seen prints like these before The lush, glowing effect of the platinum paper, combined with Watson-Schütze’s singular and masterful use of light, opened a new door to an old world gone by [M]y pur suit of knowledge and photographs from the discipline’s pre-moder n

per iod thus began It infor med and defined the rest of my life’s work, and I never tur ned back 5

To many people interested in photography, Eva Watson-Schütze represents an inspiring female pioneer who trespassed into forbidden professional artistic terr itor y at the tur n of the last centur y. She was fierce in her commitment to her chosen profession as a photographer, and by the time she arrived in Woodstock at age thir ty-five, she had esta blished por trait studios in Philadelphia and Chicago and collaborated with Alfred Stieglitz to found the important Photo-Secession movement. Yet she had many guises as a typical ar tist and Woodstocker around 1900: resident at the or ig inal Byrdclif fe Colony; member of the WAA; teacher at the Art Students League; and founder of the Historical Society It is wonderful to ima g ine Howard Greenber g bumping into Watson-Schütze on Tinker Street and sharing a passionate discussion with her about photography had Greenberg been bor n fifty year s earlier If Greenberg’s professional passions took a tur n towards historical photography, twin sisters Colleen and Kathleen Kenyon proved his perfect successors to take CPW squarely into the world of contemporar y photography. Colleen took the helm as executive director, while Kathleen ser ved as program director. During their long

tenure (1981–2003) the y generated a whirlwind of activity that set the parameter s for CPW programs to this day. Their mission, like their spirits, was adventurous and bold: “All genres, all subjects are areas of curiosity. We throw a new light on work by established artists. . . . And we take risks: we search out and showcase artists whose work is unknown, has been overlooked, or considered not commercially viable this is the greatest pleasure of working at an artist-run alternative space ” 6 CPW’s exhibitions,6 photography workshops,8 and its Center Quar terly (1979–2009) took the organization from local to inter national attention, and by 1990 it was one of the major photographic resources of the east coast Jef fre y Hoone, photography scholar and longtime director of Light Work in Syracuse, remember s the excitement of that cultural moment, when “photography was exploding.” He recalls the vital role CPW played in the “grand exper iment” among a group of ar tist-r un photography center s, whose goal was to respond immediately, in programs and publications, to the work of the moment by contemporar y photographer s.9 The Kenyon twins star ted the Photographer’s Fellowship Fund to discover and reward reg ional ar tists and also initiated CPW’s annual benefit auction which soon drew inter national par ticipants With foresight, the Kenyons secured a permanent home for CPW

in 1987 by purchasing the building at 59 Tinker Street. When the Espresso Café closed three year s later, the y expanded their galler y and program spaces into the fir st f loor and cur rent street level presence

Doug James, a jazz dr ummer who had enjoyed business success in New York City, ar r ived in Woodstock in the 1960s, liked it, began coming for weekends, and stayed a stor y that fits many transplants Now an allimpor tant collector and philanthropist in town, he became involved with the board of the Woodstock Byrdclif fe Guild in 1981, shor tly after CPW opened He met Colleen and Kathleen Kenyon and was impressed by their work. For him, “[CPW] was the best game in town dur ing the 80s and 90s. . . . The fundraising auctions, full of inter national photographer s, were the most fun, and inspired my collecting. . . . Whatever I’ve done in town, star ted with them.”10

Star ting in 2001, Ar iel Shanber g curator, wr iter, and now director of the Delaware Valley Arts Alliance worked at CPW and led the organization as director from 2003 to 2015 He continued the legacy of the Kenyon programs, strengthened the impor tant ar tistin-residence program for ar tists of color initiated in 1999, and emphasized portions of the mission that suppor ted emerging ar tists

Hannah Fr ieser, director of CPW since 2016, has a mission to “celebrate photography’s role in contemporar y culture ”11 While continuing the Center’s core programs and completing the dig itization of the collection, she has expanded “the dialogue with diversity, race, and identity, with an emphasis on social justice.” She led the purchase, in 2017, of ar tist Henr y Mattson’s house to ser ve as housing for the artist-in-residence program star ted almost twenty year s a go. For 2020, Fr ieser’s goal is to create a professional network for ar tists and join the national discussion about practices and theor ies in contemporar y photography. For Woodstock Collects, Fr ieser has curated Woodstock Squared: Photography in the Abstract, comprised of 32 works b y three Woodstock photographer s Konrad Cramer, Manuel Komroff, and Nathan Resnick mostly drawn from the collection of Woodstock resident JeanYoung Fr ieser was fascinated b y the men’s “intense experimentation and shift to abstraction the moment of transfor mation from the real to the abstract ”12 The artists had probably been inspired by a radical exhibition at the Museum of Moder n Ar t in

1951, Abstraction in Photography, curated by Edward Steichen Further intrigued by experimental techniques such as solarization and double exposure, and aided by drawing machines like the harmonograph and the sympalmagraph (the latter invented by Cramer himself in the late 40s), it seemed that “ever ything was an invitation to experiment ”13

And that is what we see in Frieser’s intense yet playful exhibition It is scientific and lyrical, exact and whimsical Frieser notes that there are “so many changes in how we see things ” 14 Those words aptly describe the show, as well as the field of photography in 2019

Notes

1 Camera Work was a quar terly photographic jour na published from 1903 to 1917

2 Sincere thanks to Howard Greenberg for his generosity in shar ing the early histor y of his founding of CPW with me Phone inter view, June 6, 2019

3 The Art Students League taught summer c asses there in 1907 and 1908; t was an ar t supply store; functioned as the Woodstock Librar y; and, in its incar nation as the Espresso Café, witnessed the bir th of the folk music revival with perfor mances by Bob Dylan, Joan Baez, and Peter, Paul and Mar y Its non-ar t histor y involved a social center, a ping-pong parlor, and an under taker’s business, memor ialized later n a cof feehouse named At the Sign of the Hear se

4 After a few year s in Woodstock Photofind moved to SoHo for 17 year s In 2003, Howard Greenberg Galler y moved to its cur rent home in the Fuller Building in New York City http://www.howardgreenberg.com/about

5 Howard Greenberg, “Foreword,” in Tom Wolf, Eva WatsonSchütze Photog rapher (New Paltz, NY: Samuel Dor sky Museum of Ar t, 2009), 5

6 Colleen Kenyon, draft of the Center for Photography at Woodstock’s 1990 capital campaign brochure, n p CPW Arch ves

7 Exhibitions at CPW have inc uded now famous photographer s like Dennis Adams, Ber nd and Hilla Becher, Alan Belcher, Joan Fontcuberta, George Ho z, Eve Laramee, Annette Lemieux, Ashle y Owens, Andres Ser rano, Hiroshi Sugimoto, Sokhi Wagner, James Wojcik, and other s. Ibid.

8 Some of the internationally recogn zed professionals who served as faculty: Lucien Clergue, Judy Dater, Nathan Farb, Sally Mann, Mar y E len Mark, Arnold Newman, Li o Raymond, Eugene Richards, Craig Stevens, George Tice, and Jerr y Uelsmann Ibid

9 Pioneer ing photography organizations of that time besides Light Work include: CEPA Galler y, Buf falo; Eastman House, Rochester; and Camera Work, San Francisco Jef fre y Hoone also directs the Menschel Media Center and the Coalition of Museum and Ar t Center s (CMAC) at Syracuse Univer s ty.

10 Doug James, phone inter view, May 4, 2019 I am grateful to Mr James for sharing his recollections about CPW during that time

11 Inter view with Hannah Fr ieser, June 14, 2019

12 Ibid

13 Ibid

14 Ibid

Woodstock Squared: Photography in the Abstract

Hannah Fr ieser

Exhibition curator Executive Director, Center for Photography at Woodstock

IManue Komrof f 1890–1974 Form Drama, 1959 S lver gelatin print, 11 x 14 in Collect on of Jean Young

n conjunction with the colla borative exhibition Woodstock Collects, the Center for Photography at Woodstock presents an exhibition featur ing Woodstock-based ar tists Konrad Cramer, Manuel Komrof f, and Nathan Resnick. The exhibition will focus on their change from Pictor ialism to a bstraction at a time of enthusiastic exper imentation. Cramer and Komrof f were also active in many other disciplines, from painting to wr iting novels and perfor ming music This exhibition focuses on ar t that has remained in the homes of pr ivate collector s within the community This detail bear s rele vance as it is indicative of the wealth of visual treasures that continue to enr ich the town of Woodstock It is almost impossible to enter the household of any longtime Woodstocker and not discover paintings, sculptures, and photographs b y local ar tists This exhibition draws mostly from the collections of Jean Young, James Co x, and Howard Greenber g, to whom we owe many thanks for their generosity and collecting prowess. Konrad Cramer (1888–1963) was born and raised in Würzburg, Ger many, in Bavaria. Based in Woodstock, he ran a summer school for miniature camera photography in the 1930s and later taught photography at Bard College. While also active as a painter combining abstract and geometr ic for ms with bold color s, he was

best known as a photographer who star ted exper imenting with darkroom techniques of abstraction, double-exposure, and solar ization as early as the 1930s.

Manuel Komrof f (1890–1974) was an Amer icanbor n photographer who also was well known as playwr ight, screenwr iter, and prolific novelist. He actively documented his creative community with enigmatic por traits of local ar tists while actively exper imenting with the abstraction of nature and nudes Less is known about Nathan Resnick (1910–1977), who worked closely alongside Cramer and Komrof f and dipped into darkroom and camera a bstraction around the same time His solar ization of trees and other nature motifs equaled Komrof f ’s in exper imentation and enthusiasm Resnick was a specialist in Walt Whitman and a long-time faculty member at Long Island Univer sity In 1962, Resnick co-published the book T he T hird Eye with Cramer and Komroff, describing it as “explorator y photography.” Two exhibitions by the same title were held in Manhattan and Brooklyn in 1959 and 1960 respectively.

All three artists were deeply connected to the community where they lived and worked. Then as now, Woodstock stood out as a supportive and close-knit community of creative minds that spanned many disciplines, creating a nurturing vibrancy rarely seen elsewhere

Facing page

Top left

Konrad Cramer 1888–1963

Tempest, n d

Silver gelatin pr nt, 9¾ x 7 7 8 in Col ection of the James Cox

Ga ler y at Woodstock 7

Bottom eft

Konrad Cramer 1888–1963

Abyss II, 1961

Silver gelatin pr nt, 9 3 1 x 71116 in

Col ection of the James Cox

Ga ler y at Woodstock

Facing page

Top right

Konrad Cramer 1888–1963

Untitled (Sympalmagraph) n d

Silver gelatin print 13 2 x 105 in

Collect on of the James Cox Galler y at Woodstock

Bottom right

Konrad Cramer 1888–1963

Composition (#17), n d

Silver gelatin print 9¾ x 75 in

Collect on of the James Cox Galler y at Woodstock

Konrad Cramer 1888–1963

Untitled, n d

Silver gelatin print 378 x 47 in Collect on of the James Cox Galler y at Woodstock

Manue Komrof f 1890–1974

Untitled, n d

Silver gelatin print 738 x 978 in Collect on of Jean Young

Manue Komrof f 1890–1974

Untitled , n d

Silver gelatin print 338 x 5 4 n Collect on of Jean Young

Manuel Komrof f 1890–1974

Untitled n d

Si ver ge at n print, 478 x 678 in Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled n d

Si ver ge at n print, 5 1 x 43 in Col ection of Jean Young

Afterword

While tracing the histor y of the organizations that colla borated on the exhibition Woodstock Collects, I was astonished b y their interconnections. The nar rative arc of their individual histories and stages of development foundation, early growth, f lour ishing matur ity, waning, disr uption, rebir th, expansion cover s over one hundred year s, a fact notable in itself Considered holistically, this collective histor y is like a relay race of creative organizational leader s in which the baton has been passed uninterr uptedly for a centur y The vitality of these ar ts organizations mir ror s the special energy of Woodstock and also helps to power it Ar tists have always been at the center of that power, infiltrating e ver y facet of the town’s life and invigorating it, from the founding of Byrdclif fe in 1902 to the numerous ar t programs available in town on any given weekend.Although, as Sylvia Leonard Wolf points out, ar tists often feel “the compulsion to create and be left in peace,”1 those who founded the Byrdclif fe and Maver ick colonies presented a dif ferent and generous model, integrating ar tists into the life of the town, then as now. Although artists and non-artists continue to f low to Woodstock as a refuge and for the beauty of the landscape, proximity to New York City is also part of the draw Videographer Cambiz Khosravi, a longtime observer of Woodstock town life and histor y, reminds us that nearness to a metropolis was embedded in John Ruskin’s original vision for an ideal art colony, which inf luenced Whitehead in establishing the Byrdcliffe site Khosravi further notes that the digital age, enabling Woodstocker s to be both away and connected, has helped realize Whitehead’s original dream for Byrdcliffe 2

The interconnectedness between people is what keeps Woodstock alive as an ar t colony. Geddy Sveikauskas, publisher of the Woodstock Times, pr izes the empathy and tolerance of town life.3 Doug James emphasizes the pr imacy of per sonal inter relations:“All of these connections required interaction among people A lot of Midwester ner s came here; the y decided to stay because there was something special going on ”4

Business-like Howard Greenberg uses surpr isingly romantic langua ge to descr ibe the town’s attraction: “Woodstock has always had the magic some kind of configuration of stars enabling it to become a magnetic place for creative people like-minded people with an open hear t and mind ”5

How to explain the ma g ic of Woodstock’s char isma? Woodstock ar tist Manuel Bromberg gets the last word:“It’s too late to stop it.”6

Notes

1 Inter view with Sylvia Leonard Wolf, May 13, 2019

2 Inter view with Cambiz Khosravi, June 16, 2019 Khosravi’s video, Woodstock In Sear ch of Utopia (2012), draws interesting parallels between Woodstock’s early and contemporar y histor y as an ar t colony.

3 Inter view with Geddy Sveikauskas, June 6, 2019.

4 Doug James, phone inter view, May 14, 2019

5 Howard Greenberg, phone inter view, May 6, 2019

6 Inter view with Manuel Bromberg, May 4, 2019 Bromberg is a master ar tist and thinker, and a centenar ian who is also totally contemporar y His ar tistic career has spanned numerous modes Dur ing World War II, he ser ved as an of ficial battlefield ar tist cover ing the war in drawings, paintings, and photographs He subsequently exper imented with the social realism that f lour ished in Woodstock, and eventually moved into the avant-garde with abstract mura s and conceptualist sculpture related to land ar t

Checklist for Woodstock Collects

Marianne Appel 1913-1988

Trees, n d Oil on l nen, 23½ x 29½ in Col ection of Sarah Greer Mecklem and Merril Mecklem Piera

Mi ton Aver y 1885-1965

My Wife Sally, 1930

Dr ypo nt etch ng 5½ x 8¼ in Collect on of Beth Uf fner

Jesse Tarbox Beals 1870-1942

White Pines, 1908

Gelatin silver print, 5½ x 9½ in. Collect on of the Woodstock Byrdcl f fe Guild Gift of J ll and Mark Wilcox, Jr

George Bellows 1882-1925

Portrait of Florence Ba lin Cramer, 1922

L thograph c crayon on paper, 12 x 9 in Collect on of Arthur A Ander son

George Bellows 1882-1925

T he Reader, c. 1923

L thograph c crayon on paper, 8 x 12½ in Collect on of Arthur A Ander son

George Bellows 1882-1925

Jean in a B ack Hat c 1923

L thograph on paper 15 x 11 n. Collect on of Arthur A Ander son

John W Bentley 1880-1951

Woodstock Landscape c 1925 Oil on board, 24 x 30 n Collect on of the Woodstock Byrdcl f fe Guild

Gift of Maribeth Har mes

Otto Bierhals 1879-1994

Landscape n d Oil on canvas, 5½ x 9½ in Collect on of Henr y T. Ford

Ar nold Blanch 1896-1968

Woodstock Landscape with Bridge, c 1930

Oi on canvas, 15 x 22 in Col ection of Tatiana and Anthony Robinson

Lucile B anch 1895-1981

Anemones c 1970s

Oi on canvas board 12 x 18 in Col ection of Sylvia Leonard Wolf

Lou s Bouché 1896-1969

Interior with Desk and Chair, n d

Oi on canvas, 13¾ x 10½ in Col ection of Judith Kupper smith

Jane Dow Bromberg 1913-2008

Co orado, 1940

Lithograph, 10¼ x 13¾ n Col ection of T na Bromberg

Bolton Brown 1864-1936

Catskill Mountains, c 1913-1914

Oi on canvas board 8 x 10 in Private collect on

Bolton Brown 1864-1936

T he Crooked Tree, n d

Lithograph, 10½ x 10½ n

Col ection of Nata ie Chapman and Galen Kirk and

Petra Cabot 1907-2006

Untitled, n d

Oi on canvas, 15½ x 19½ in Col ection of Elisabeth Smal

Jo Cant ne 1893-1987

Girl in Pink Dress n d

Oi on canvas, 30 x 38 in Col ection of Peter Cantine

John F Car son 1875-1945

Untitled (Red Bar n with Chickens) 1917

Oi on canvas, 5½ x 6¾ in Col ection of the Car son fam ly

Margaret Goddard Car son 1882-1965

Untit ed (House with Pines), n d Oil on canvas, 15½ x 11½ in Collect on of the Carlson family

Robert Winthrop Chanler 1872-1930

Portrait of Louise He lstrom, c 1925 Oil on canvas, 24 x 36 in Pr vate col ection

Frank Sw ft Chase 1886-1958

Landscape, n d Graphite on paper, 5½ x 8¼ in Collect on of Jency Ell ot

Frank Sw ft Chase 1886-1958

Untit ed, n d Oil on board, 19½ x 15½ in Col ect on of Sam and Barrie Freed

Edward Chavez 1917-1995 Red Sky, 1967 Oil on canvas, 13 x 18 in Collect on of Jenne M. Cur rie

Allen Dean Cochran 1888-1971 Cooper Lake, n d Oil on canvas, 24½ x 30 in Pr vate col ection

F orence Ballin Cramer 1884-1962

Exce sior Hotel, n d Oil on canvas, 23¾ x 17½ in Collect on of the Cramer Estate

F orence Ballin Cramer 1884-1962

Portrait of Konrad Cramer, 1949 Silver gelatin print 9¾ x 7½ in Collect on of Paula Nelson and John Kleinhans

Konrad Cramer 1888-1963

White House with Red Barn, n d Ink wash on paper, 13 x 15 in.

Collect on of the Cramer Estate

Rollin Crampton 1886-1970

Untitled, c 1963

Oi on paper, 18 x 28 in Co lection of Manue Bromberg

Andrew Dasburg 1887-1979

Untitled, n d

Penc l on paper, 2018 x 18 8 n Collection of Sam and Barr e Freed

Julio de Diego 1900-1979

Abstract Stripes, n d Lithograph, 14½ x 21¾ in Co lection of Nata ie Chapman and Ga en Kirk and

Frank in Drake 1929-2001

Pears 1949

Oi on Masonite, 6½ x 5¾ n Co lection of Ruth Drake

Alf Ever s 1905-2004

Or chard in Snow, c 1940s

Oi on canvas, 16 x 20 in Co lection of Henr y T Ford

Er nest Fiene 1894-1965

Portrait of Jane Dow (Bromberg) 1940

Oi on board, 13 x 10 in Co lection of Manue Bromberg

Har vey Fite 1903-1976

Female Head, c 1950

Wood, 7 x 15 x 7 in Co lection of Tad R chards

John Bernard Flannagan 1895-1942

Untitled, n d Woodcut 8½ x 5½ in Co lection of Joe Rosenkranz

Karl Fortess 1907-1993

Night Scene, n d

Oi on canvas, 15 x 19½ n Co lection of Henr y T Ford

Emil Ganso 1895-1941

Early Snow 1937-1938

L thograph 18½ x 23½ in Col ection of Sam and Barrie Freed

Emil Ganso 1895-1941

Nude in Bath, 1938

Pastel on paper, 28 x 21¼ in Collect on of Arthur A Ander son

Eugenie Ger shoy 1901-1986

Sausalito c 1945

Watercolor on paper, 13 x 13 in Col ection of Sam and Barrie Freed

Juanita Gucc one 1904-1999

Untitled n d

Gouache on paper, 10½ x 14 in

Collect on of Lesley and Robert Sibner

Phi ip Guston 1913-1980

Jo Look in Fridg, (inscr bed), c 1970s

Pencil on paper, 11½ x 7½ in Pr vate col ection

Phi ip Guston 1913-1980

T he Street, (inscribed “To John and Lesl e”), 1970

L thograph AP, 23 x 30 in Pr vate col ection

Carolyn Haeberl n 1913-2000 Flowers in Vase, n d Oil on canvas, 24 x 30 in Collect on of Henr y T Ford

Raoul Hague 1924-1962

Fema e Torso, n d Marble on wood base, 15 x 11 x 7½ in Pr vate col ection

Lovel Birge Har r son 1854-1929

Untitled c 1929

Oil on canvas, 29 x 24½ in

Collect on of Casey Bonestee Drake

Lovel Birge Har r son 1854-1929

Untitled (View of the Stream)

c 1904

Pastel and graphite over woodblock print, 10¾ x 15½ in Collect on of Doug as C James

Rosella Hartman 1895-1984

Leopards, c 1940s

Oil on canvas, 24 x 30 in Pr vate col ection

Wilna Her vey 1894-1979

Children in Snow, n d Oil on canvas, 8 x 10 in.

Collect on of Natalie Chapman and Galen K rkland

Jane Jones 1907-2001

Rondout Barge 1930s

Oi on canvas, 10 x 13¾ n Estate of Jane Jones

Wende l Jones 1899-1956

Road to Guaymas, 1937

Oi on canvas, 16 x 20 in Estate of Wendel Jones

Her min e E Kleinert 1880-1943

Untitled, n d

Oi on board, 15½ x 19½ in.

Col ection of the Woodstock Byrdclif fe Guild

Georgina Klitgaard 1893-1976

Arbor Day, 1943

Oi on canvas, 26 x 36 in Col ection of Beth Uf fner

Doris Lee 1905-1983

Untitled, n d

Gouache on paper, 13¼ x 8¾ in Private collect on

Tom Leonard d 1957 Arno d Blanch, 1947

Photograph, 11 x 11 in Col ection of Tad R chards

Tom Leonard d 1957

Harvey Fite in his Studio, 1947

Conte photo, 14 x 11 in

Col ection of Tad R chards

Tom Leonard d 1957

Wendell Jones and Family, 1947

Conte photo, 14 x 11 in

Col ection of Tad R chards

Tom Leonard d 1957 Doris Lee, 1947

Conte photo, 14 x 11 in

Col ection of Tad R chards

Tom Leonard d 1957

Carl Walters in his Studio, 1947

Conte photo, 14 x 11 in Col ection of Tad R chards

Car Eric Lind n 1869-1942

Bearsville, c 1920

Oi on canvas, 24 x 52 in

Col ection of Sylvia Leonard Wolf

Eugene Ludins 1904-1996

Self-Portrait with Pipe 1929-1931

Oi on canvas, 21 x 16 in

Col ection of Pier re and Susana Leva

Ethe Magafan 1916-1993

Purple Mountains, 1947

Oi on masonite, 21 x 27 in.

Georges Malkine 1898-1970

La Viel e Coque (T he Old Barge), 1965

Oil on canvas, 33 x 35¾ in Collect on of Fer n Malkine-Falvey

Georges Malkine 1898-1970

Self-Portrait, 1923

Black and white photograph

8 x 6 in Collect on of Fer n Malkine-Falvey

Howard Mandel 1917-1999

T he T hree Kings, n d

L thograph, 10 x 14 n Collect on of Abigail Sturges

Nicho as Mar sicano 1908-1991

Nude and Apu, 1972

Oil on paper, 18 x 24 in Collect on of Susan Mar sicano

F etcher Mart n 1904-1979

Glamour Gal 1961

L t hograph, 24 x 18 in Collect on of Pa oma Mele

Henr y Mattson 1887-1971

Landscape, 1930

Oil on canvas, 26 x 28 in Col ect on of Sam and Barrie Freed

John McClellan 1908-1986

T hree Men, 1940

Watercolor on paper, 22¼ x 15¼ in Collect on of Suzan McCle lan Whiting

Henr y Lee McFee 1886-1953

Untit ed (Sti l Life w th P nk

Drape), c 1925

Oil on canvas, 25½ x 32½ in Col ect on of Sam and Barrie Freed

Aust n Mecklem 1890-1951

White House in Or chard, n d

Oil on canvas, 11¼ x 13½ in Collect on of Sarah Greer Meck em

Aust n Mecklem 1890-1951

Self-Portrait, n d

Oil on board, 15¼ x 11¼ in Collect on of Mer ri l Mecklem Piera

Edward Mil man 1907-1964

Winter Landscape, 1960

Case n on paper, 23 x 35 in Private col ection

Tomas Penn ng 1905-1982

Walter P ate 1925-1972

Untitled, 1972

Oi on paper, 19 x 14½ n

Co lection of Manue Bromberg

Joseph Pollet 1897-1979

Barns, n d

Oi on canvas, 20 x 24 in Estate of Jane Jones

Joseph Pollet 1897-1979

Studio Window, n d

Oi on canvas, 29½ x 39¾ in.

Co lection of Michael Hunold

Josef Presser 1909-1967

Woodstock Landscape, c 1945

Mixed media on paper, 13¾ x 18 in

Co lection of Lesley and Robert Sibner

Anton Refreg er 1905-1979

Woman Receives a Letter, n d

Oi on canvas, 29½ x 26¾ in

Co lection of Brigit Refregier

Anton Refreg er 1905-1979

Ceramic Plate, 1978

Ceramic, 12¾ x 2½ in

Co lection of Brigit Refregier

Winold Re ss 1886-1953

September, n d

Woodcut 8 x 8 n

Co lection of Beth Uf fner

Charles Rosen 1878-1950

Brickyard, 1931

Oi on canvas, 30 x 24 in

Co lection of Arthur A Ander son

Andrée Ruellan 1905-2006

Flowers, n d

Monopr nt, 5½ x 6½ in

Co lection of Henr y T Ford

Rolph Scar ett 1889-1984

Dolphins, 1936

Gouache on paper, 10¼ x 9¾ in

Co lection of Sylvia Leonard Wolf

Amy Smal 1910-1997

T he Kiss, n d

Wood sculpture, 7½ x 4 x 32 n

Co lection of Elisabeth Sma l

Hannah Small 1903–1992

Sleeping Girl, c 1950-55

Alabaster, 11 x 13 x 18¾ in

Co lection P er re and Susana Leva

White with Sai boat, c 1960s

Stone, 7¾ x 7¾ n.

Col ection of Sylvia Leonard Wolf

Collect on of the Rakov Family

Jehudith Sobel 1924-2012

Tree n d

Oil on canvas, 30 x 36 in Collect on of Lesley and Robert Sibner

Eugene Speicher 1883-1962

Untitled n d

Oil on canvas, 15½ x 19½ n Collect on of Tatiana and Anthony Robinson

Zulma Steele 1881-1979

Drop-Front Desk with Iris Panels, 1904

Stained cherr y 50½ x 28¾ x 16 in Collect on of the Woodstock

Byrdcl f fe Guild

Gift of Elise Glenne and the Douglas C James Charitable Tr ust

Zulma Steele 1881-1979

Purple Hil s, c 1914

Oil on board, 8 x 10 in Collect on of the Woodstock Byrdcl f fe Guild

Gift of W lliam R G nsberg

Ber nard Stef fen 1907-1980

Abstract, c 1965

Serigraph 7½ x 9½ in Collect on of E eanor Stef fen

Janette Steinlauf 1919-1967

T he Tree Waits 1964

Oil on canvas, 11 x 8 in Collect on of Karen Walker

Betty Sturges 1913-2003

Se f-Portrait, c 1931

Oil on canvas, 23 x 19½ in Collect on of Abiga l Sturges

John W Taylor 1897-1983

Woodstock Landscape 1940 L thograph 10¾ x 14½ in Woodstock Artists Association & Museum Gift of Andrée Ruellan

Unknown

Anton Refregier and Friend, n.d. Photograph, 12 x 10½ in Collect on of Br git Refregier

Unknown Herminie E Kleinert n d Photograph, 12 x 10½ in Collect on of the Woodstock Byrdcl f fe Guild

Carl Walter s 1883-1955

Bowl, c 1950

Eva Watson-Schütze 1867-1935

Jane Whitehead with Son Peter 1904

Platinum print, 8 x 5¾ in Col ection of the Woodstock Byrdclif fe Guild

G ft of Sarane O’Connor and Douglas C James

Jane Byrd McCal Wh tehead 1861-1955

Landscape, c 1890s

Oi on canvas, 9 x 13 in. Col ection of the Woodstock Byrdclif fe Guild

G ft of Douglas C James

Jane Byrd McCal Wh tehead (1861-1955) Ralph Radc if fe Whitehead (1854-1929)

Vase, Long-Necked, with Turquo se Glaze, (White Pines Potter y), 1915-1926

Ceramic 13 x 7½ in Col ection of the Woodstock Byrdclif fe Guild

G ft of the Douglas C James Char table Tr ust

Jane Byrd McCal Wh tehead 1861-1955, Ra ph Radcl f fe Whitehead 1854-1929

Vase w th Eucalyptus Painted on Turquo se Ground, (White Pines Potter y), 1915-1926

Ceramic 8 x 6½ in Col ection of the Woodstock Byrdclif fe Guild

G ft of the Douglas C. James Char table Tr ust

Ralph Radclif fe Whitehead 1854-1920

Vase w th Aubergine G aze “Byrdclif fe B ue” Glazed Interior and Two Hand es, 1915 Earthenware, 14¼ x 9½ in Col ection of the Woodstock Byrdclif fe Guild

G ft of Douglas C James, William R Ginsberg Jane Traum, and Elise Glenne

Reg nald W lson 1909-1993

Pitcher on Red Background n d

Watercolor, 8 x 13 in Col ection of Abigail Sturges

Woodstock Artists Association & Museum

Eric Ange och b 1960

Robert Angeloch 1922–2011 Falls at Shady, 1970

Oil on canvas, 30 x 40 in

Collect on of Eric Angeloch

Marianne Appel 1913–1988 Por cupines, c 1963

Oil on board, 52 x 18 in Woodstock Artists Association & Museum

Gift of Sarah Greer Mecklem and Mer rill Mecklem Piera

M lton Aver y 1885–1965

Dark Birds Dark Sea, 1959 Oil on board, 18 x 24 in Woodstock Artists Association & Museum

Gift of El iot and Ruth Gr uenberg

Sally Michel Aver y 1902–2003 Cornfield, 1988

Oil on canvas board, 9 x 12 n Woodstock Artists Association & Museum

Gift of Marla Price

Jane Dow Bromberg 1913–2008 Garden of the Gods 1940

L thograph, 12 x 15 n

Collect on of Manuel Bromberg

Manuel Bromberg b 1917

View from California Quarr y, 2001

Acr y ic on canvas, 58 x 36 n

Collect on of the artist

Tina Bromberg b. 1949

Pond III, 2003

Acr y ic on canvas, 12 x 12 n

Collect on of Barbara and Sam Jef fries

March Aver y Cavanaugh b 1932 View of the Var, 2018 Oil on canvas, 30 x 24 in Collect on of the artist

Sean Cavanaugh b 1969 Southern Structure, 2018 Oil on canvas, 30 x 30 in. Collect on of the artist

Br uce Cur rie 1911–2011

Portrait of the Artist's Wife, 1960s

Acr y ic on waterco or board mounted on m1asonite 39¾ x 37 in Woodstock Artists Association & Museum

Gift of Jenne M Cur r e

Melanie Delgado b 1977 Mountain Range of Misunderstanding, 2019 Oi on canvas, 36 x 36 in Co lection of the artist

Jeanne Englert b 1954

Passage, 2007

Charcoal on paper, 31 x 1938 in Co lection of the artist

Mar y Frank b 1933

Untitled, 2018

B uestone, pa nt and gesso, 24 x 24 x 12 in Co lection of the artist, Courtesy of Elena Zang Galler y

Er nest Frazier 1942–2004

Blues Man, n d Ink on paper, 22 x 16 in Estate of the art st

Xhosa Fraz er b 1974

To a Poet Lured by the thought of Domestic Bliss, 2019 Poem copyright Xhosa Frazier

Jane Jones 1907–2001 Johnnie 1935

Oi on canvas, 20 x 16 in Estate of Jane Jones

Peter Jones b 1941 Dog Tooth Burnisher, 2017 Oi on canvas, 12 x 24 in Co lection of the artist

Wendell Jones 1899–1956

Landscape with Salamander, 1946

Oi on canvas, 20¼ x 45 n Woodstock Art sts Association & Museum

Gift of Jane Jones

Carole Kunstadt b 1951 Markings No 67 2019 Graph te, co ored pencil on tr ple layer mylar, 18 x 18 in Co lection of the artist

Ar row Kleeman b 1971 Internals, 2019 Oi on canvas stretched over wood panel, 24 x 24 in Co lection of the artist

Eleanore Lockspeiser 1900–1986 Dark Madder, 1985

An ta M Smith 1893-1968

Chur ch in Willow, n.d.

Oi on canvas, 26¾ x 28¾ in

Collection of Sam and Barr e Freed

Blue-green Egypt an glaze w th black on a cream ground, 5 x 5 x 3 in Pr vate col ection

Untitled No 39, 2018

Acr ylic and gold leaf, 30 x 30 in.

Col ection of the artist

Jenne M Cur r e b 1956

Retsina and Fruit, 1998

Acr y ic copper and wood on masonite, 49 x 39 x 4 in Collect on of the artist

Oi on canvas, 40 x 32 in Woodstock Art sts Association & Museum Gift of Mar y Frank

Ethe Magafan 1916–1993 Mountain Waters, 1970 Tempera on masonite

25½ x 43½ n Co lection of Jenne M Cur rie

Austin Meck em 1890–1951

Winter, 1927

Oil on canvas, 16 x 20 in

Collect on of Mer ril Meck em Piera

Sarah Greer Mecklem b 1946

Barking, from Animal Stories series 1994

Oil and wax on oval canvas and wood, 18 x 25½ in

Collect on of the artist

Jenny Nelson b 1969

An Island Appears, 2019

Oil on l nen, 40 x 40 in.

Collect on of the artist

Courtesy of the Car rie Haddad Galler y

A an Siege b 1938

T he Bull, 2019

Oil on canvas, 48 x 96 in

Collect on of the artist

Susan Stephenson b 1968 Sunday at the Strand Dixie T heater, 2006 Oil on panel 16 x 24 in.

Collect on of the artist

Nancy Summer s 1927–2018

Monhegan n d

Etching and aquat nt, 11 x 15 in Woodstock Artists Association & Museum

WAA Annual Pr nt Award

Historical Society of Woodstock

W llard E Allen 1860–1933

Overlook Mountain n d

Oil on canvas, 15 x 19 in

Collect on of Donald and Nancy Al en

Pau Ar ndt 1881–1971

Untitled n d

Oil on canvas, 27 x 35 in

Collect on of Sue and Mike Reynolds

Josephine Bar nard 1869–1955

Untitled 1929

Oil on canvas, 24 x 30 in

Collect on of Jean Wh te

Marion Bul ard 1878–1950

Untitled c 1930

Oil on board, 8 x 10 in

Historical Soc ety of Woodstock

Leilani Claire 1942–2005

Carneva e Shrine n d

Photograph–multimed a, 20 x 9 x 3 in

Collect on of JoAnn Margolis

Al en Dean Cochran 1888–1971

Grey Day Glasco Turnpike, Woodstock, NY, n.d.

Oi on board, 8 x 10 in Col ection of Deborah and Richard Heppner

Al en Dean Cochran 1888–1971

Summer Sunshine, n d

Oi on board, 8 x 10 in Col ection of Deborah and Richard Heppner

Florence Ballin Cramer 1897–1968

Knife and Fork Restaurant, c. 1940

Oi on paper, 17 x 24 n

H storical Society of Woodstock G ft of Aileen Cramer

Konrad Cramer 1888–1963

Self-Portrait, 1925

Pen on paper, 6 x 9 in

H storical Society of Woodstock

G ft of Aileen Cramer and Margot Taylor

Konrad Cramer 1888–1963

Self-Portrait, 1933

Pen on paper, 5 x 8 in

H storical Society of Woodstock

G ft of Aileen Cramer and Margot Taylor

E O Drogseth 1874–1948

Valhal a, 1943

Pen and ink, 9 x 13 in Col ection of Karen Vos

John Er nst 1920–1995

Untitled, 1968

Watercolor, 8 x 10 in.

Col ection of Janine and John Mower

Dan Gottscha k 1919–1979

Untitled, c 1960

Oi on canvas, 9 x 13 in Col ection of Kathr yn and Wa ter Ander son

Marion Greenwood 1909–1970 Indito, n d

Ink on paper, 17 x 13 in

Col ection of Janine and John Mower

Emi e Gr uppe 1896–1978

Untitled, n d

Oi on board, 12 x 16 in

Col ection of Deborah and Richard Heppner

Wilna Her vey 1894–1979

Beach Scene, 1965

Enamel on copper, 8 x 10 in.

Collect on of Letitia Smith

Gurden Howe 1903–1984

Tanner y Brook n d

Watercolor, 19 x 25 in Collect on of Kar yn Bevet

Gurdon Howe 1903–1986

Twine’s Bookshop and Artist Supplies, 1968

Watercolor, 30 x 38 in Collect on of Olivia Tw ne

Sy va Hutchins 1925–2013

Elizabeth s Garden, 1973

Pastel on sanded paper, 7 x 8 in Collect on of Kar yn Bevet

Carl Er c Lindin 1869–1942

Old Farm, n d

Oil on canvas, 19 x 23 in

Historical Soc ety of Woodstock

Gift of Mr and Mr s Theodore Wasser man

Margaret Lowengrund 1903–1957

Portrait of a Young Girl in a Red Hat, n d

Oil on canvas, 15 x 18 in Collect on of Jean White

Nan Mason 1896–1982

Abstract Guitar, 1967

Enamel on copper, 6 x 6 in Collect on of Letitia Smith

Catherine Mur ray 1936–1979

Untit ed, c 1950

Pastel 8 x 11 in

Collect on of Sue and M ke Reynolds

Edith Mur ray 1916–2011

Untit ed, c 1970

Oil on board, 12 x 16 in Collect on of Sue and M ke Reynolds

Paul Naylor 1941–2017

Woodbridge Abbey, n d Oil on paper, 17 x 26 in Collect on of Janine and John Mower

Pame a V nton Ravenel 1883–1955

T he Irvington Inn, c 1945

Watercolor, 12 x 18 in Collect on of Kathy Longyear

Eva Watson-Schütze 1867–1935

Portrait of Martin Schütze, 1905

Oi on canvas, 19 x 23 in.

Historical Society of Woodstock

Gift of the art st

An ta M Smith 1893–1968

Washington Square, n d

Oi on board, 8 x 10 in

Estate of Anita M Sm th, Weston

B e ock and Ju ia Blelock

Zulma Steele 1881–1979

Over ook Mountain, 1914

Oi on canvas, 24 x 30 in

Historical Society of Woodstock

Gift of Michael Densen

Aart Vos 1905–1990

Untitled, c 1970

Mixed media 8 x 11 in

Co lection of Karen Vos

Johanna Vos 1909–2007

Untitled, c 1970

Batik on cotton, 10 x 10 in

Co lection of Karen Vos

Elizabeth Woiceske 1882–1958

Our Village, c 1930

Lithograph, 5 x 7 in

Co lection of Kathy Longyear

Woodstock School of Art

Frank in Alexander 1925–2007

Untitled, c 1960

Oi on canvas, 48½ x 37½ in

Co lection of Pau A exander

Frank in Alexander 1925–2007

E izabeth's Back, c 1990

Charcoal wash 13 x 10 n

Co lection of Pau A exander

Pia Oste-A exander 1931–2018

Untitled, c 2000

Print over col age, 36 x 15½ in

Co lection of Pau A exander

Robert Angeloch 1922–2011

Ostego, 1968

Oi on masonite, 11½ x 15½ in

Co lection of Maur y Moncure

Robert Angeloch 1922–2011

Potato Fields, c 1974

Ser graph, 18 x 18 in

Co lection of Tatiana and Anthony Robinson

Mar anne Appe 1913–1988

Ar no d B anch 1896–1968

Island Landscape, c 1960

Oil on canvas, 42 x 34½ in Collect on of Ann Roberts Blanch Braun

Ar no d B anch 1896–1968

Kingston Landscape, 1935 Oil on canvas, 22 x 26 in Collect on of Peter Koch

Luc le Blanch 1895–1981

Woodstock Landscape 1924 Oil on canvas, 16 x 20 in Collect on of Tatiana and Anthony Robinson

Pau Burlin 1886–1969

Gargantuan Woman, 1953

Oil on canvas, 48¾ x 31¾ n Woodstock Art sts Association & Museum Gift of Mrs Paul Burlin

Edward Chavez 1917–1995 Yellow Sky, 1970

Acr yl c on canvas 14 x 20 n Collect on of Cor nel a Rosenblum

Edward Chavez 1917–1995 Oljate, 1972

Car ved wa nut, 24 x 16 x 45 n Collect on of Ma a Chavez Larkin

Her man Cher r y, 1909–1992

Vertical and Square, 1960 Oil on canvas, 24 x 24 in Collect on of Regina Cher r y

Br uce Cur rie, 1911–2011

Girl Dr ying Hair, 1981

Oil on panel 11 x 8½ in Collect on of Jenne M Cur r e

Br uce Dorfman b 1936 October Rising, 2017

Assemblage painting, 59 x 36 x 6 in Collect on of the artist

Pau Fiene 1899–1949 Deer Rising 1935

Ter racotta, 9 x 11 x 5 in Pr vate col ection

Ruth G kow 1915–1982 Untitled c 1950 Ink on paper, 16 x 12 in Collect on of Regina Cher r y

Richard Goetz 1915–1991 T he Iron 1970

Marion Greenwood 1909–1970

Haitian Drummers, 1951

Ink wash on paper, 17 x 23 in

Col ection of Marc Plate

Philip Guston 1913–1980

T he Room 1958

Gouache on paper, 21 8 x 2978 in Private collect on

Philip Guston 1913–1980

To the Plates, 1964

Ink on paper, 16 x 13½ n. Col ection of Marc Plate

Carolyn Haeberlin 1913–2000

Trees 1972

Oi on canvas, 29 x 36 in

Col ection of Ellen and Allen J Zerkin

Agnes Hart 1912–1979

Mountain Birds 1940

Oi on canvas, 9 x 7½ n

Col ection of Arthur A Ander son

Jane Jones 1907–2001

Portrait of Hannah (Small), 1932

Oi on canvas, 12 x 10 in

Estate of Eugene Ludins

Nathaniel Kaz 1917–2010

Daydreaming 1936

Car ved marble 11 x 22 x 8 n

Courtesy of Conner Rosenkranz, New York

Nathaniel Kaz 1917–2010

Accordion P ayer, 1936

Charcoal on paper, 12 x 9

Courtesy of Conner Rosenkranz, New York

Yasuo Kuniyoshi 1889-1953

Before the Act 1932

Lithograph, 13 x 9¾ in

Col ection of Stephen and Charlotte Diamond

Yasuo Kuniyoshi 1889–1953

Café #2, 1935

Lithograph, 12½ x 978 in.

Col ection of Stephen and Charlotte Diamond

Yasuo Kuniyoshi 1889–1953

Still Life, 1934

Lithograph, 16 x 12 in

New York State Museum, H storic Woodstock Art Colony

Col ection of Arthur A Ander son

Sidney Laufman 1891–1985

Trees, c 1955

Oil on glass, 7 x 8¾ in Collect on of Caro yn P and John H Wilson

Doris Lee 1905–1983

Bee Keeper, n d Gouache on board, 21 x 14¼ n Woodstock Artists Association & Museum

Gift of Ruth and E liot Gr uenberg

Jenne Magafan 1916–1952

T he Stair, 1951

Oil on canvas, 19½ x 13½ in Collect on of Jenne M Cur rie

F etcher Mart n 1904–1979

Portrait of (Herman) Cherr y, 1940

Oil on canvas, 34 x 39 in Collect on of Regina Cher r y

F etcher Mart n 1904–1979

To Ethel and Bruce, 1945 Ink on paper 11½ x 8½ in Collect on of Jenne M Cur rie

Nan Mason 1896–1982 Shark, 1955

Oil on board, 19 ½ x 14 ½ in Collect on of Maur y Moncure

Richard Mayhew b 1924

Gila, 2014

Oil on canvas, 36 x 36 in Pr vate col ection Courtesy ACA Galleries, NYC

Aust n Meck em 1890–1951

Untit ed, 1949

Case n on canvas, 13½ x 17½ n Collect on of Sarah Greer Meck em

Sigmund Menkes 1896–1986

Sti l Life, 1940s

Oil on canvas, 19¼ x 25 in Woodstock Artists Association & Museum

Gift of Mr and Mr s. W lliam P. Marin

Edward Mil man 1907–1964 B ue Incident, 1963 Oil on canvas, 39 8 x 60 in Woodstock Artists Association & Museum

Gift of Nor ma Mil man

Walter P ate 1925–1972

Untitled, 1957

Oi on paper, 19½ x 27¼ in Co lection of Cor nelia Rosenblum

Joseph Pollet 1897–1979 E izabeth Penning 1940 Oi on canvas, 20 x 16 in Co lection of Peter R Jones

Andrée Ruellan 1905–2006 Summer Flowers, c. 1960

Oi on canvas, 18½ x 13½ in Co lection of Jennie and Daniel Gelfand

Amy Smal 1910–1997 Abstract, c 1950

We ded steel, 35 x 9 x 31 in Co lection of Elisabeth Sma l

Hannah Small, 1903–1992 Figure Rec ining, c 1970 Cast p aster, 13 x 6 x 8 in Co lection of Ab gai Sturges

Hannah Small 1903–1992 Standing Veiled Figure, c 1970 Ter racotta, 11 x 2½ x 5½ n

Co lection of Cor nelia Seckel

Hannah Small 1903–1992 Knee ing Woman, 1955 Marble, 18 x 7 x 8 in

Co lection of Elisabeth Sma l

Ber nard Stef fen 1907–1980 Yellow Pink Green, 1970 Ser graph, 29 x 33 in Co lection of Sue L pkins and David Wiebe

Betty Sturges 1913–2003 Gai, 1950 Pastel on paper, 9½ x 7¾ n Co lection of Ab gai Sturges

Nancy Summer s 1927–2018 Apple Tree c 1970 Linocut, 12 x 12 in Co lection of Ian Angeloch

John W Tay or 1897–1983

Cathedral New Orleans, 1955

Gouache, 25¼ x 19 n

Co lection of Jennie and Daniel Gelfand

James Tur nbull 1909–1976

Fish Mobi e, c 1960

Ruth Heppner 1925–2006

Untitled, n d

Watercolor 15 x 22 in

Col ection of Deborah and Richard Heppner

Genev eve Shu t s 1900–1982

Untit ed, c 1915

Pencil 6 x 6 n

Collect on of Becky Reynolds

Sand ot, 1944

Oi on canvas, 17½ x 29¾ in

Co lection of the Mecklem Family

Oil on canvas, 14 x 18 in Collect on of Mar y Anna Goetz and James Cox

Marion Greenwood 1909–1970

Portrait of Amy (Small) 1952

Oil on canvas, 23¾ x 17½ n Collect on of E isabeth Small

Sidney Laufman 1891–1985

Landscape Mal or ca c 1933

Oi on canvas, 25½ x 32 n.

Woodstock Art sts Association

& Museum

G ft of Beatrice Laufman

Will am Pachner 1915–2017 Self-Portrait with Window, 1987 Tempera on paper, 44 x 34 in Collect on of the Pachner Fam ly

Will am Pachner 1915–2017 Scholar Reading 1949 Ink on paper 16 x 13 in Collect on of Jency Ell ott

Welded polychrome stee , 33 x 14 x 7 in

Co lection of Carolyn P and John H W lson

James Tur nbull 1909–1976 Fishes, c 1965

Brazed brass, 16 x 9 x 78 in

Co lection of Peter Koch

Regina d Wilson 1909–1993

Lemon and Glass, 1955 Serigraph 8½ x 11½ n Collect on of Maur y Moncure

Center for Photography at Woodstock

Konrad Cramer 1888–1963 Abyss II, 1961

Silver gelatin print 91316 x 7111 in Collect on of the James Cox Galler y at Woodstock

Konrad Cramer 1888–1963

Composition (#17), n d Silver gelatin print 9¾ x 75 in Collect on of the James Cox Galler y at Woodstock

Konrad Cramer 1888–1963

Stil Life with Fans, n d Silver gelatin print 3¾ x 5 in Collect on of Jean Young

Konrad Cramer 1888–1963 Tempest, n d Silver gelatin print 9¾ x 77 in Collect on of the James Cox Galler y at Woodstock

Konrad Cramer 1888–1963

Untitled , n d Silver gelatin print 378 x 47 in

Collect on of the James Cox Galler y at Woodstock

Konrad Cramer 1888–1963

Untitled (Sympa magraph) n d Silver gelatin print 938 x 71 in Collect on of Jean Young

Konrad Cramer 1888–1963

Untitled (Sympa magraph) n d Silver gelatin print 9¾ x 77 in Collect on of the James Cox Galler y at Woodstock

Konrad Cramer 1888–1963

Untitled (Sympa magraph) n d Silver gelatin print 13½ x 105 in.

Collect on of the James Cox Galler y at Woodstock

Manue Komrof f 1890–1974

Anatomy n d Silver gelatin print, 10¾ x 13¾ in Collect on of Jean Young

Manue Komrof f 1890–1974

Crack e, n d Silver gelatin print 10¾ x 135 in

Collect on of Jean Young

Manue Komrof f 1890–1974

Form Drama, 1959

Silver gelatin print 11 x 14 in

Collect on of Jean Young

Manuel Komrof f 1890–1974

Fugue, n d

Si ver ge at n print, 7¾ x 9 5 in Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled, n d

Si ver ge at n print, 5 x 7 in Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled, n d

Si ver ge at n print, 5 x 7 in Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled, n d

Si ver ge at n print, 338 x 5 1 in Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled n d

Si ver ge at n print, 478 x 6 8 n Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled, n d

Si ver ge at n print, 4¾ x 6 8 n Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled, n d

Si ver ge at n print, 738 x 9 8 n Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled, n d

Si ver ge at n print, 5 x 7 in Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled, n d

Si ver ge at n print, 7¾ x 9 8 n Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled, n d

Si ver ge at n print, 10 x 7¾ in Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled, n.d.

Si ver ge at n print, 6 1 x 4½ in Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled n d

Si ver ge at n print, 5 1 x 43 in Col ection of Jean Young

Manuel Komrof f 1890–1974

Untitled, n d

Si ver gelatin print, 10½ x 13½ n Col ection of Jean Young

Nathan Resnick 1910–1977

Aspiration, n d

Si ver ge at n print, 14 x 978 in Col ection of Jean Young

Nathan Resnick 1910–1977

Ebb and F ow, n d

Silver gelatin print 478 x 678 in Collect on of Jean Young

Nathan Resnick 1910–1977

Light Flowers 1, n d Silver gelatin print 11 x 1378 in Collect on of Jean Young

Nathan Resnick 1910–1977

Light Flowers 2, n d Silver gelatin print 778 x 9¾ in Collect on of Jean Young

Nathan Resnick 1910–1977

Light Flowers 3, n d Silver gelatin print 778 x 9 8 n Collect on of Jean Young

Nathan Resnick 1910–1977

T he Edge of the Wind, n d Silver gelatin print 1378 x 11 in Collect on of Jean Young

Nathan Resnick 1910–1977

T heme and Variations n d Silver gelatin print 1378 x 11 in Collect on of Jean Young

Nathan Resnick 1910–1977

T heme and Variations n d Silver gelatin print 5 8 x 3 1 in Collect on of Jean Young

Nathan Resnick 1910–1977

Untit ed, n d Silver gelatin print 778 x 978 in Collect on of Jean Young

Nathan Resnick 1910–1977

Untit ed, n d Silver gelatin print 7 8 x 9¾ n Collect on of Jean Young

Nathan Resnick 1910–1977

Untit ed, n d Silver gelatin print 40 x 26 n Collect on of Jean Young

Nathan Resnick 1910–1977

Untit ed, n.d. Silver gelatin print 7¾ x 9 4 n Collect on of Jean Young