Art – Writing New Jersey Life

Category: Art

“The National Arts Club: In Love with the Arts”

On February 15, 2021

In Architecture, Art, Arts, Culture, Fashion, Travel

“There is nothing more truly artistic than to love people.” Vincent Van Gogh

The National Arts Club earns a renown for its impressive art, engaging events, and a National Historic Landmark home in Gramercy Park, but its true vibrancy comes from its members. The Club members celebrate, promote, and educate others about the “visual arts, literature, film, architecture, fashion, photography and music” in the warm way of passing along a book that is too good not to share.

The Club that helps keep the arts alive in the city began in 1898 with Charles Augustus de Kay, the art and literary critic for The New York Times. Mr. de Kay’s goal was to look to American artists for inspiration rather than European, which was traditional at the time, and to encourage public interest in the arts and education in fine arts. With the help of philanthropist Spencer Trask, Mr. de Kay and fellow founding members like Henry Frick purchased the Victorian Gothic Revival mansion of Samuel J. Tilden, 25^th governor of New York, for the Club. Governor Tilden, who ended New York City corruption, most notably that of Tammany Hall, had bequeathed his fortune for a citywide New York Public Library. His stately home at 15 Gramercy Park South in the Gramercy Park Historic District was formerly two brownstones joined by a sandstone façade designed by Calvert Vaux, co-creator of Central Park. For the mansion’s exterior, Mr. Vaux used the Aesthetic Movement style that emphasized bringing beauty into all aspects of life, making it the ideal home for the Club. In a 2008 restoration, New York City-Brazilian artist Sergio Rosetti Morosini, active in the conservation of the city’s landmarks, added a bust of Michelangelo above the Club’s entrance. The interior includes magnificent stained-glass panels by artist John LaFarge, who had a studio in Greenwich Village, and a stained-glass dome by Scottish-born artisan Donald McDonald.

“Joyce Carol Oates,” NAC Medal recipient

The building is so elegant and distinctive that filmmakers and television producers have requested it for works like “The Age of Innocence,” “The Manhattan Murder Mystery,” “The Thomas Crown Affair” (1999), “The Marvelous Mrs. Maisel,” “Billions,” “Gotham,” “Jimmy Choo,” and “Boardwalk Empire”. Even more distinctive is the welcoming of women as members since the Club’s 1898 founding. Historical name dropping of former members includes artistic greats like painters Cecilia Beaux, Frederic Remington, William Merritt Chase, George Bellows, Chen Chi and sculptors Anna Hyatt Huntington, Robert Henri, Daniel Chester French, and Augustus Saint-Gaudens.

With such names, one might mistake the Club as being pretentious, but members are there to share a genuine love of the arts. Crossing the threshold means receiving a friendly greeting not only from other members but long-time staff. The atmosphere is lively for the sociable and serene for artists at work. Dining amidst beautiful artworks, resuming again Tuesday with safety protocols, is another opportunity to connect. Lectures and events cover topics including art, fashion, fragrances, cuisine, dance and movement, film screenings, and concerts featuring jazz, classical, and contemporary music. In the past year, the Club has celebrated its fun traditions virtually with events like this month’s Bonnet Bash hat contest, the holiday concert with the Gramercy Brass Orchestra, the Halloween Gala, and Open House New York.

Membership includes worldwide access to other clubs. Additional membership perks allow access to meeting and event rooms, overnight accommodation, and Gramercy Park, the last private park in Manhattan, all the more relaxing for restricting photography.

Important traditions recognize lifelong contributors to the arts with the National Arts Club Medal and encourage new playwrights with the Kesselring Prize for Playwrighting. Medal recipients, whose portraits adorn the walls, include Anna Sui, Joyce Carol Oates, Frederica von Stade, Patricia Field, Claire Bloom, Ellen Burstyn, Toni Morrison, Nadine Gordimer, Lin Manuel-Miranda, John Turturro, Itzhak Perlman, Ang Lee, Salman Rushdie, Spike Lee, I.M. Pei, Tom Wolfe, Frank McCourt, W.H. Auden, Saul Bellow, Tennessee Williams, Roy Lichtenstein, Philip Roth, Mark Twain, Downing Vaux, Calvert’s son, and more. The Kesselring Prize awarded in honor of Joseph Kesselring, best known for writing “Arsenic and Old Lace,” presently honors playwright Mona Mansour. Selected new artists receive support as Artist Fellows which gives them a membership for one year to enhance their careers.

The National Arts Club has carried on gracefully during this past year underscoring the importance of the uplifting to inspire and connect us. Artists, too, are visionaries, who give us pause to reflect. In a place where a love of art, life, people, and the city all flow together, this nonprofit’s extraordinary and newly renovated galleries are free and open to the public daily, 10 a.m. to 5:00 p.m. with reservations presently for safety. Additionally, gallery spaces are available for non-members. (Note: On view as of early 2022: “Art of the Abstract Mark,” Libbie Marks’ collage paintings, the “Will Barnet Student Show,” which welcomes new young artists, “Consequences: A Parlor Game,” which showcases the work of the National Academicians of 2021, and “A Century of American Landscape Art,” some landscape “treasures” from the Club’s permanent collection of more than 600 works of art.) Enjoy exhibition updates and Club news on Instagram, Twitter, and Facebook, which offers a virtual tour, also available on the NAC website.

“Benny Goodman,” NAC Medal recipient, by fellow medalist and Club member Everett Raymond Kinstler

While living in the city, I had the pleasure of being an affiliate member for a time through an alumnae group, which was an incredible experience. Later, I attended the most welcoming and cordial reception and tour, which included a view of The Players club for the performing arts next door, through another alumni association. A delightful lecture from curators from The Clark Art Institute and French National Heritage for the exhibition “Women in Paris, 1850-1900” marked the occasion of another memorable stop.

“Some Little Talk of Me and Thee There Was,” 1905-1909, by Harry Willson Watrous

On my most recent visit, which fell on Valentine’s Day of last year right before the pandemic began, the Media/Marketing Communications director kindly gave two talented British travel and cuisine writers and myself a morning tour. Such fans of New York City, the couple was here to celebrate his birthday. Having seen a number of the inspirational city sights on other trips, they asked me about a unique and wonderful New York City experience for which the only answer was, “The National Arts Club.” On every visit, I am thrilled by being in the company of people who also value what I love.

Valentine’s Day 2020 was a day of kindnesses, so in keeping with the true nature of the city. Though this valentine meandered en route for a while, it still arrives heartfelt.

(Sources: NAC website and social media, onthesetofnewyork,com, saxonhenry.com (member), the artstory.org, ny.curbed.com, tripadvisor.com, goodreads.com, Wiki)

Partial view of the Club’s historic brownstone home (2017)

“Greenwood Gardens: Fairy-Tale Enchantment”

By Kathleen Helen Levey

On January 27, 2019

In Architecture, Art, Gardening, Lifestyle, Travel

““…daily life…is practically composed of two lives – the life in time and the life by values…” E.M. Forster

Looking up to the Georgian Revival mansion from the Italiante garden

A garden is ever-changing, but perennial at the same time, planned around time to stand outside it. We go then to a garden to enjoy nature’s beauty in time savored. Stepping into Greenwood Gardens takes us into a world of enchantment by adding fairy-tale charm to nature’s beauty. Greenwood Gardens features classical “Italianate gardens” with an “Arts and Crafts Design,” traditional handcrafted décor, resulting in the delight of Alice in Wonderland chess piece sculptures, a magical wrought-iron grille with birds of paradise and golden rabbits, fountains with Rookwood ceramic tiles, a stone teahouse, grottoes, and cascades.

“Greenwood Gardens” began as “Pleasant Days” an estate owned by the Days, Pauline and Joseph, who also lived in Gramercy Park. In 1906, the couple purchased the property from one of the well-known Newark brewers Christian Feigenspan, whose “P.O.N.,” the “Pride of Newark” beer won a silver medal in the Paris Exposition of 1877. Mr. Feigenspan, a Cornell graduate, was a Newarker in an area filled with the country estates of wealthy New Yorkers among the “short hills,” high enough for views, low enough for access for those seeking a direct route to the countryside.

As a new Short Hills resident, self-made millionaire Joseph Day admired the garden of his neighbor, architect William Whetten Renwick and commissioned him to create an Italianate mansion and formal gardens for what would become “Pleasant Days”. Before settling on a plan, Joseph and William toured gardens of Europe for inspiration. William, originally from Lenox, Massachusetts in the Berkshires, contributed to the design of both St. Patrick’s Cathedral and the Church of All Saints in New York City whose principal architect was his uncle James Renwick, Jr.. The Day gardens that he created had a modernized flair from new US inventions like lighting from Thomas Edison whose laboratory was in nearby West Orange and uniqueness with a working farm to fulfill the wishes of Pauline. The beautiful Day home with its view of the Watchung Mountains was a social hub in the 1920’s and 1930’s. During the Great Depression, however, Joseph, a real estate broker, had difficulty in maintaining the 79 acre estate, which went on sale in parcels after Mr. Day’s death in 1944.

Dr. Adelaide Childs Frick Blanchard bought the house and gardens, replacing the worn mansion with the present Georgian Revival house in 1950. Adelaide and her husband Peter Blanchard, Jr. preserved the gardens on the still vast parcel of about 28 acres. Adelaide, a pediatrician, was the daughter of Childs Frick, a paleontologist and trustee of the Museum of Natural History and granddaughter of Henry Clay Frick who founded the Frick Collection. The Blanchards added the incredible limestone chess pieces, several ponds, and the striking London plane and Norway spruce allee along the entrance driveway. The estate, bordering on South Mountain Reservation with its mountain trails, allowed for one of the Blanchard family favorite pastimes, horseback riding. Mr. Blanchard later sold 40 acres of repurchased land to the Township of Millburn where there is a playing field and extensive woodland paths for the public to enjoy as Old Short Hills Park.

The gardens have reflected both the taste of their owners and their respective eras, the Gilded Age and the Colonial Revival. The Day garden favored popular perennials, the Blanchard garden, the “modern” evergreens of 1950’s. After Dr. Blanchard’s death, her husband, who lived many years thereafter, devoted the remaining years of his life to maintaining and restoring their home as a part of ensuring its future for public enjoyment. Carrying on Peter, Jr.’s wishes, Peter Blanchard III and his wife Sofia created a nonprofit to preserve the garden under the national Garden Conservancy trust. Son Peter, a writer, conservationist, and Greenwood trustee often speaks at the garden about which he has written Greenwood: A Garden Path to Nature and the Past, available at the gift shop or by calling (973) 258-4026. Working from archival photos, the Garden Conservancy has restored the original terrace pergolas among several projects. Today, the garden is a combination of perennials and plants with attractive foliage that offers color beyond the season of blooms.

Special flowers, particularly their scent, bring back memories – the rose corsage or boutonnière from a first formal dance, gardenias from a wedding bouquet, and pressed wildflowers from a picnic on one of those idyllic days that seem to have lasted forever. For many in our family, the scent of lilacs brings back the memory of our sweet grandmother Helen who returns to us each year with the first spring breeze.

Even more so than the beautiful flowers, perhaps it is the trees that are most significant at Greenwood Gardens. The visual poetry of the allée of London plane and Norway spruce trees that Peter planted for his wife Adalaide let visitors know that they are about to experience a place so beloved that the Blanchards felt compelled to share it.

Partial view of beautiful London plane and Norway spruce allee

One of the Monarch butterflies in the allee

After descending the steps in each marvelous level of the garden, visitors can travel through Greenwood’s mazes, an encounter with the wondrous. What is around the next corner? Should one go right or left? The boxwood, fragrant at every turn, suggests that no one can choose wrongly. Surprises, some delightful and expected like birds singing and the rustling sound of squirrels darting through the hedges, may reassure us, and some fanciful, like the Rookwood fountain spouts of the enigmatic Dionysus, either smiling or frowning, offer mystery.

Friends who garden share the same qualities of patience, kindness, and good-naturedness. Perhaps that comes from taking the long view, knowing to prepare for spring months in advance and having the vision to imagine a flourishing garden when there is frozen ground. Some friends in this bouquet are “house proud” as the British say. They enhance the loving quality of their homes with fresh flowers and vegetables for their families and instill a love of nature in their children. Others are artists, expressing themselves in the splendor of design. Some are both. Almost all view themselves as grateful caretakers of God’s gift of beauty. Each has a pride from accomplishment over time and the serenity of a joyful gift given to others.

A home of garden lovers, now shared with the public to experience not only nature’s beauty, but a sense of time more deeply valued, Greenwood welcomes volunteers. For more information on their gardens which reopen in the spring, visit Greenwood Gardens, where you can also take an inviting online tour or see what’s in bloom.

(Sources: greenwoodgardens.org, gardenconservancy.org, nybg.org, artprice.com, Arts & Crafts Home and the Revival: artsandcraftshome.com, nytimes.com, amnh.org, pawprinceton.edu, traditionalbuilding.com, hgtv.com, Wiki)

“Central Park: The North Woods”

By Kathleen Helen Levey

On November 21, 2018

In Architecture, Art, Culture, Gardening, Nature, Park, Travel

Harlem Meer, sunset view from the Charles A. Dana Discovery Center

“Every moment of light and dark is a miracle.” Walt Whitman

Walt Whitman, with New York and New Jersey ties, shares wisdom that lights the way in autumn. At this time of year, the earlier darkness may not be welcome, but the fall offers a different kind of beauty with autumn leaves, a sometime #Snowvember, and a greater appreciation of the day. At night, the stars shine more clearly in the sky.

Nature’s palette in Central Park

Fall splendor and autumn blooms in a celebration of nature’s palette mark autumn in Central Park. And then there are the greens, vibrant after this year’s rain. On a splendid day of second summer in the park, a walk in Central Park North brings the cheers of children playing soccer, strollers on their lunch breaks, friendly chats with fellow park admirers, and the fragrance of the flowers on the last of the warm breezes.

Untermeyer Fountain, Three Dancing Maidens by Walter Schott

Chrysanthemums, daisies, and asters in the Conservatory Garden

A young mother lay on one of the giant boulders with her newborn sleeping on her chest, looking at the sky while her infant slept in a perfect moment of contentment and connection. This sight brought to mind a wondrous thing about Central Park that the Conservancy has revitalized from the park’s original vision: park-goers know that there is no judgment in the park, which is one of the keys to its serenity. On a wonderful early fall tour of the North Woods, park staff mentioned the Bible as a source for Frederick Law Olmsted in creating a pastoral setting, his touchstone for a shared utopia. By looking to Heaven, he connected people with Earth.

Visual poetry

We all have our favorite parts of the park, and the Park Conservancy encourages us to explore and enjoy all of it. The park is, impressively, 843 acres (341 hectares) and a six-mile (9.6 km) around its perimeter, its inception detailed on a springtime visit in “Central Park: A Template of Beauty”. On another visit, while circling somewhere on a wooded path in the North End, when asked which way was a central landmark, a hiker responded with a smile and a shrug that in the nicest way possible expressed, “Why would anyone head where visitors flock when there are these great woods?” She knew the paths of the northern park expertly and shared that knowledge with enthusiasm. Everything is about perspective.

Springbanks Arch

North in the park

The North End includes the North Meadow, Harlem Meer, the North Woods, the Great Hill, in season, playgrounds, baseball fields, and the seasonal pool/ice hockey Lasker Rink. The Conservatory Garden is a few blocks lower than the start of the North End at 100th Street. Designed by Gilmore Clarke, who created the Unisphere at Flushing Meadows-Corona Park, it boasts three gardens in English, French, and Italian style. Distinguishing the garden is the Vanderbilt Gate by George Browne Post, who designed buildings for the nearby City College of New York, the Brooklyn Historical Society, and the New York Stock Exchange, and who later lived in Bernardsville, New Jersey. The Conservatory Garden is its own paradise thanks to dedicated gardeners.

A highlight on a recent trip was chatting with people fishing at Harlem Meer. Fishing of bass, perch, and carp is catch and release with respect to NYC fishing regulations, but the sport is no less fun. Our grandfather, an avid fisherman, would have delighted in the fishing and have known the questions to ask. A kidder, however, whenever anyone asked him what was new, he always answered, “New York, New Jersey, New Hampshire, and New Mexico” often accompanied by a friendly swat on the arm. Straightforward was not his way, but fun was, and through a love of fishing, he made friends easily as his fellow sportsmen at the Meer seem to do, too.

The Ravine

A tour of the North Woods offers a thoughtful combination of art, history, ecology, geology, good company, and a poetry reading, a sublime mix for those who love nature and art. The North Woods, designed to evoke an Adirondacks experience, features rushing cascades, leafy paths, and stone and rustic bridges with inspiration by Maplewood, New Jersey artist Asher Durand whose work embodied the counterpoise of “naturalism and idealization,” seen in “Kindred Spirits”. The tour starts at the northeast corner of the park by Duke Ellington Circle, sometimes referred to as “the Gateway to Harlem” at East 100th Street at the Charles A. Dana Discovery Center. From the center, situated on Harlem Meer, the group traverses the woodland to The Loch, “lake” from Scottish Gaelic like the Dutch “Meer,” the Ravine, and The Pool on the West Side. The water experiences were part of Frederick Law Olmsted and Calvert Vaux’s original “Greensward Plan” for the park. In an impressive feat of engineering, the two created the Pool, The Loch, Harlem Meer, and three cascades from Montayne’s Rivulet, once a passageway for Revolutionary War troops. The Meer surrounds a promontory with the remnants of a lookout from the War of 1812. The Conservancy commissioned the center and restored the area to its original beauty in 1988-1993.

With this fall’s sensation of the sighting of the Mandarin duck, and now the saw-whet owl, it may reassure us at the holiday season to know that people will rush past cynicism to experience simple wonder, which is why the park is so important. The North Woods is also a bird habitat, noted with appreciation to others on the walk who had brought binoculars and shared some of their delightful sightings. All park tours, now also available in Spanish and French, are a way to learn about new parts of the park, to have a deeper appreciation for favorite places or an opportunity for children to discover. Thank you to our knowledgeable guides.

Dedicated park staff members

Finding the way

If you live in New York City, you will experience friendly neighbors waving and calling out your name from across the street, which no one to this day believes in any of my out-of-state retellings. “New York, New York City?” they ask, but the divine wordsmith Nora Ephron always recounted stories in both interviews and her work of how New York is a city of neighborhoods. The apparent effortless serenity of the park, devotedly designed and developed, increases that warmth exponentially in New Yorkers’ splendid front yard where visitors are cordially welcomed.

For those fellow Central Park explorers whose sense of direction needs a little navigational nudge now and then, though the paths are clear, the fallback GPS works in the North Woods. Better to enjoy walks with friends that offer visits on log benches or hikes with a tempo that pick up with camaraderie.

On such visits, we enter the woodland with the known behind us and explore the paths. In the heart of the woods, we look back in thanks and forward in anticipation, a Thanksgiving with a view to a new year.

(Sources: centralparknyc.org, centralpark.org, centralpark.com, nycgovparks.org, metmuseum.org, watercourses.typepad.com, nytimes.com, Wiki)

Fishing at Harlem Meer

Downashore with Gramps, second, left, and firehouse buddies in Brielle with a champion catch that made the “Newark Evening News”

Charles A. Dana Discovery Center

Dana Discovery Center

Autumn gold at Harlem Meer

The Pool

A side trip to the zoo with a thank you to staff. Pictured is a delightful red panda.

North Meadow

North End flowers

“Central Park: A Template of Beauty”

By Kathleen Helen Levey

On May 6, 2018

In Architecture, Art, Culture, Gardening, Lifestyle, Park, Travel, US History

Spring ambience, Cherry Hill

“…there is…a pleasure common, constant and universal to all town parks…in other words, a sense of enlarged freedom is to all, at times, the most certain and the most valuable gratification afforded by the park”. Frederick Law Olmsted

The sounds of Central Park: birds singing, children laughing, musicians playing, and water trickling are all the melody of Frederick Law Olmsted and Calvert Vaux’s harmonious vision of the park. Their artful landscape design draws one into a retreat with nature that inspires painterly artists and sculptors alike. More recent tunes like those of the Delacorte Clock and the Carousel have added to the park’s charm.

Delacorte Clock

Happy park goers at Cherry Hill

The National Historic Landmark in the heart of Manhattan began with a city competition in 1857. The prize went Frederick Law Olmsted, park superintendent, and Calvert Vaux, an English-born architect. The philosophy of Frederick Law Olmsted, considered the father of American landscape design, was to create parks that instilled a feeling of community within cities. His parks included not just fields, but diverse recreation for wide appeal. Olmsted’s principles of landscape design visually drew in park goers to varied landscape themes that brought a sense of tranquility. Calvert Vaux, co-architect of the Metropolitan Museum of Art and the American Museum of Natural History, implemented their aesthetic vision of Central Park, to render landscape into art. With this principle in mind, Vaux designed Bethesda Terrace and the park’s iconic bridges.

Cherry blossoms on Pilgrim Hill

Some fun facts about the park: A stroll through the two and a half miles (4 km) from north to south in the park represents traveling from the city, containing landmarks, to the wooded countryside of New York state. Walking all the way around the park’s 843 acres (341 hectares) is a six-mile (9.6 km) trip. Topsoil brought in from New Jersey and Long Island helped create the rolling landscapes of the park. Frederick Law Olmsted and Calvert Vaux created harmonious oases throughout the city, including Manhattan’s Riverside Park and Morningside Park and Brooklyn’s Prospect Park, Fort Greene Park, Carroll Park, and Herbert Von King Park. Frederick designed parks in Boston, Buffalo, Chicago, and the Biltmore Estate in Asheville, the grounds of the US Capitol, and Mount Royal Park in Canada. Together with Calvert, he created a plan to protect the natural beauty of Niagara Falls.

Cherry Hill

San Remo Building

The Olmsted-Vaux design

Olmsted and Vaux in the Garden State

With the success of Central Park, other commissions for Olmsted and Vaux followed, including nearby Newark, New Jersey. Branch Brook Park, envisioned by Frederick, was the park of our childhood. Cherry blossom season meant family poses in Easter best beneath branches of flower petals that gently caressed our newly bared arms in the spring sunshine. The breeze carried the crunch of crinoline, the jingle of the ice cream truck, and the rustling of robes as proud graduates also posed beneath swaying blossom branches. The flowering cherry trees were and are the special occasion trees for New Jerseyans, spring in itself celebratory after a long winter. Caroline Bamberger Fuld, who shared the Olmsted-Vaux vision, brought the trees from Japan and nurtured them on her own Orange estate before having them planted in the Newark-Belleville park.

Of the parks and grounds throughout New Jersey attributed to Frederick Law Olmsted and his sons, John Charles and Frederick, Jr., known professionally as the Olmsted Brothers, the Twombly-Vanderbilt Estate, now Fairleigh Dickinson University’s Florham Campus, Madison, The Lawrenceville School campus, and Cadwalader Park, Trenton, Frederick personally designed. Verona Park, Maplewood Memorial Park, Anderson Park, Montclair, and Warinanco Park, Roselle and Elizabeth were projects carried out by the Olmsted firm. Among the private residences Calvert Vaux planned, the Wisner Estate in Summit, now Reeves-Reed Arboretum on the National and State Registers of Historic Places, is where visitors enjoy scenic walks and gardens. If the rare person does not recognize the names of Olmsted and Vaux at Garden State stops, the mention of Central Park sparks immediate admiration.

Central Park and Verona Park with the Olmsted design that draws us in: curving paths, a varied landscape of rolling hills, playing fields, meadows, and water.

Fairleigh Dickinson University’s Hennessey Hall, the former Twombly-Vanderbilt Mansion in Madison

Wisner House and daffodils on the Bowl, Reeves-Reed Arboretum in Summit

A Lifelong Park

Central Park is a park for our lifetime. The exploration of the big rock by the American Museum of Natural History marked our first family visit, the site summited again on a field trip with young classmates. The late 70’s brought James Taylor and his concert for Sheep Meadow, which may be news to my mother-reader. On city excursions with girlfriends, the 80’s had the fun of JFK, Jr. sightings whether he was tossing a football, throwing a Frisbee, or doing pretty much anything in a boyish way. A walk through the park on visits back to the States in the 90’s felt like officially coming home. The anchor was not only the park’s beauty, but people in harmony with nature in a way that seemed unique by being both within and away from the city.

West 72nd Street entrance

A few years into the new millennium came the unexpected thrill of living in New York City, and the park, a former destination, was now a neighbor. Cozily tucked into a living space, I appreciated Frederick Law Olmsted’s vision of a place for everyone to go and feel free. At one point, I was fortunate enough to walk through the park to go to work, which meant that I arrived with a smile for others and returned home with cares left in green fields. If I completed enough work on Saturday, the reward was a Sunday morning spent in the park, reading the papers by the Conservatory Water, applauding the nearby roller skate dancers in warm weather or the sledders on Cedar Hill in cold, or dropping by the Met or the 92nd Street Y to meet friends in a bounty of good fortune. We all have memories like these with more to come thanks to the Central Park Conservancy, dedicated staff, and volunteers.

People travel the world for bucket list experiences, but there is nothing like passing beneath a fragrant canopy of delicate flowers. The cherry blossoms have given turn to the crab apple blooms in the symphony of spring in Central Park. Welcome spring with a walk in the park.

Lewis Carroll’s “Alice in Wonderland” by Jose de Creeft, commissioned by George Delacorte

Monument to John Lennon, gift of the City of Naples, designed by Bruce Kelly; Strawberry Fields commissioned by Yoko Ono

Cyclists everywhere enjoying spring

Cascading blossoms

Vibrant spring colors

Every view is like a movie still (throwback to last spring)

(Sources: centralparknyc.org, olmsted.org, fredericklawolmsted.com, centralpark.com, nycgovparks.org, nytimes.com, smithsonian.com, branchbrookpark.org, tclf.org, ci.columbia.edu, biography.com, eyeofthedaygdc.com, nps.gov, neh.gov, metmuseum.org, amnh.org, modernfarmer.com, aoc.gov)

“Clicking at the Clark”

By Kathleen Helen Levey

On November 7, 2017

In Art, Culture, Lifestyle, Museum, Travel

Original gallery by Daniel Deverell Perry

Our first trip together to the Clark Art Institute was like the soft-focus idyll of its Renoirs. We pulled into Williamstown, Massachusetts, resplendent on a fall day. Dressed for the occasion with blazer and sundress, respectively, we reviewed the guide, mapped out our route and dreamily strolled and sighed with admiration among the premiere artworks of the French Impressionists. We discussed each other’s favorites, which led to conversations about other trips, other art, and finally, the getting-to-know each other memories, which this visit would become much like Renoir’s depictions of families and friends.

The George Inness trip took us into the landscape of the world. Weekend excursions sometimes call for sightseeing selection and, on a trip the following summer, the focus was Mount Greylock, which is part of happy, boyhood camping memories for my friend and was indeed wonderful to visit. Wistful, however, at the thought of passing by incredible art without a nod of respect, somewhat like going through town without at least a call to a local friend, our usual easy give and take resulted in a compromise regarding The Clark – a twenty minute stop. In sneakers, shorts, and having adopted the Jersey Shore penchant for tee shirt collecting, a Stephen Crane House tee shirt, which in New England elicited the occasional thumbs up and playful shouts of “Denny Crane!” the William Shatner character from “Boston Legal,” I raced past works by Sargent, Remington, Turner, Hokusai, Madrazo, Cassatt, della Francesca, and Degas to find the New Jersey paintings by George Inness and Winslow Homer, undertaking with abandon the sacrilege of photographing paintings for social media when time for note-taking and creative photos was out of the question. Dashed out, returned to the car, and with a nod to my friend who was studying the map, noted, “Fifteen”.

The June return was our unrushed Alma-Tadema savoring of details having had a winter preview of his work by Clark curators at New York City’s The National Arts Club . Revisiting art museums allows us all to get off the bucket list treadmill, look around, and enjoy talking with people. Like taking in a Berkshire sunset on the beautiful Clark grounds, the art is different every time we view it. As a place of growth, The Clark literally changes with new artworks, buildings, and exhibitions. The cinematic painter Sir Lawrence Alma-Tadema created a splendid music room for Gilded Age magnate Henry Marquand and the first-time restoration of its highlights is all about the exquisite design that created not only an impressive, but a serene space, much like the museum, for family and guests to enjoy.

Visitors can view the art of Alma-Tadema in “Orchestrating Elegance” this summer, as well as exhibits: “Picasso: Encounters,” Helen Frankenthaler “As in Nature” and “No Rules,” 17th century Dutch artists “An Inner World,” the Thomas Schutte Crystal, and Community Access to the Arts (CATA) “I Am Part of Art” with the Lunder Center at Stone Hill, art “drawing attention to the ability within disability”. If you have not been to The Clark think about wandering from the route this summer, or revisiting for a new view. The Clark (clarkart.org) is part of a consortium with The Williams College Museum of Art (wcma.williams.edu) and MASS MoCA (massmoca.org) in nearby North Adams, both of which we look forward to visiting.

“The Two Graces: Grace Hartigan and Grandma Moses”

By Kathleen Helen Levey

On November 6, 2017

In Art, Culture, Lifestyle, Travel

Grace Hartigan

“I cannot expect even my own art to provide all of the answers, only to hope that it keeps asking the right questions.”

An Abstract Expressionist who started life in Newark, Grace Hartigan (1922-2008) grew up in Millburn, New Jersey. Having little formal training as an artist beyond some lessons with Newark-based Abstract Expressionist Issac Lane Muse, she saw works of Henri Matisse in a book and felt inspired to paint. In the circle of Jackson Pollack, Mark Rothko, and Willem de Kooning, who started the US chapter of his life as a house painter in Hoboken, Grace might have resided comfortably in their sphere, but ultimately chose to make her own path.

Grace’s art was immediately successful, giving her the self-assurance to carry on in the primarily male, star-laden New York City art scene of the late 1940’s-1950’s. A New York Times article described her as “brash,” a quality she would have needed to prevail. Consistent in the Times of NY and LA on Grace’s life is that she did not look primarily to her inner life for inspiration like the other Abstract Expressionists in that era, but responded to, and was inspired by, the world around her. This world connection was reflected in her paintings in which she gradually added images, an influence of poet and friend Frank O’Hara who combined “high art” and “low art”. The LA Times reported that, endearingly, he wrote several poems for her.

Ironically, by including these images, she became known as the founder of “Pop Art,” a title which she disdained. Nevertheless, as an independent spirit, she appreciated, “I’d much rather be a pioneer of a movement that I hate than the second generation than the second generation of a movement that I love,” noted in The Washington Post. The one “most celebrated of American woman painters,” Life, 1957, her work fell into disfavor by the 1960’s with fellow Abstract Expressionists and art critics and sales of her paintings fell off.

Grace was resilient and, having become more appreciative of art history in the 1950’s, another factor separating her from her Abstract Expressionist peers, became part of the faculty at the Maryland Institute College of Art (MICA) in Baltimore. She taught and ultimately became director of the Hoffberger School of Painting, created to showcase her talent, and she in turn, worked to raise its cachet as an art school. Of her life as an artist, she reflected in a “World Artist” interview via NY Times, “Now as before it is the vulgar and the vital and the possibility of its transformation into the beautiful which continues to challenge and fascinate me…Or perhaps the subject of my art is life the definition of humor – emotional pain remembered in tranquility.”

In the 1980’s, Grace had the resolve to paint again, expanding her talents to include different mediums that she came to appreciate through art history, printmaking, watercolor, and pointillism. She had the foresight and generosity to set aside paintings created during her tenure at the Maryland Institute College of Art. The donated paintings, worth more than $1 million dollars, were to benefit her students when she was no longer able to teach them as described in a MICA article worth visiting via mica.edu.

Many bold quotes are ascribed to this artist who experienced life to the fullest, perhaps most famously, “I didn’t choose painting….It chose me. I didn’t have any talent. I just had genius.” Beyond the sound bites, perhaps the epitaph of her friend Frank O’Hara best reveals Grace, “Grace/to be born and live as variously as possible.”

Her works are online at Artsy.com and there is a great overview of her development as an artist with highlighted works on theartstory.org, which credits her as an influence on Neo-Expressionist artists like Julian Schnabel and David Salle.

The paintings of Grace’s peer Helen Frankenthaler are having a new appreciation this summer as an exhibit at The Clark in Massachusetts and in a Grandma Moses exhibit at the Bennington Museum in Vermont. Periodically, Grace’s work appears in galleries in New York City and on exhibit at the Metropolitan Museum of Art, the Guggenheim, the Whitney Museum of American Art, the Museum of Modern Art, the Baltimore Museum of Art, the National Gallery of Art, and the Hirschhorn Museum and Sculpture Garden.

A few weeks ago, Artsy.com noted that Grace was a New Jerseyan as well as a New Yorker, which led to more reading about her life.

Wildflowers, Bennington Museum

Grandma Moses, Anna Mary Robertson Moses

“Life is what we make it, always has been and always will be.”

Like Grace Hartigan, folk artist Grandma Moses, her artistic contemporary for a time, was a fellow Modernist who found inspiration in life. Born as Anna Mary Robertson (1860-1961), she grew up on a farm in Greenwich in Upstate New York, but attended classes in a one-room schoolhouse in nearby Bennington, Vermont. From a large family, economics required that she spend her teen years with another family as a live-in housekeeper, a “hired girl” as noted by Time. Ultimately, in an extraordinary life path, that schoolhouse became the Bennington Museum which houses the largest collection of her paintings today.

Throughout her life, Anna revealed artistic talent, but her days revolved around taking care of her family and their farm. She and her husband were first tenant farmers in Virginia, worked hard, and then became farm owners in Eagles Nest, New York, not far from where Anna spent her childhood. After her husband died, Anna took up embroidery until her arthritis made it difficult. Her sister suggested painting, which Anna took up at the age of 76, sometimes switching hands, and it was one of these paintings spotted in a drugstore window by art collector Louis J. Caldor that led her to notoriety. Considered a “folk artist,” a fluid term a self-taught artist who carries on a tradition (JSTOR.org from University of Chicago archive), Anna became known publicly by her family address, “Grandma Moses”.

Both the American public and the media were taken with Grandma Moses, embraced like a national grandmother, and she was an incredibly popular figure in the 1940’s and ’50’s. Favorite winter scenes that she painted were everywhere across the US, most notably on Christmas cards with sales of an estimated 48 million. Her illustrated version of Clement Moore’s The Night Before Christmas is still in print, a perennial favorite, its paintings created, inspiringly, at the age of 100. Those paintings are on exhibit at the Bennington Museum in Bennington, Vermont, which is home to the largest collection of her paintings.

Grandma Moses’s charming winter scenes look like happiness defined and are even more delightful viewed in their original form. As the Bennington Museum curators note, Grandma Moses added sugar to the white paint to create snow that sparkled, which initially unmoored art critics. Nonplussed, she carried on with a brilliant result. Her joyful nature is clear in her observations, “Christmas is not just one day” as well as her art, which she described as “daydreams” both in a Time revisiting of her work.

Seeing her art with “fresh eyes” is how the dedicated museum staff will be presenting Grandma Moses’ work as part of “American Modern” from July 1st through November 5th. The exhibit will place her work alongside that of other Modernists, also peers of Grace Hartigan: Helen Frankenthaler, Andy Warhol, Fernand Leger, Joseph Cornell, Helen Frankenthaler, and folk artists Edward Hicks and Joseph Pickett to appreciate Anna’s talent anew.

The museum, founded by the Bennington Historical Society, 1852, has an array of exhibits to appeal to everyone. For history buffs, there are vibrant exhibits like the “Battle of Bennington” (the monument is nearby), “Grandma Moses Schoolhouse,” and “Gilded Age Vermont” to renowned Bennington stoneware to fashion & style to photography. The museum cooperates with nearby Bennington College, and you will also find beautiful works from artists both in the college and local community.

Allow time for the upstairs Church Gallery of Bennington and Vermont history, which was indeed a church and looks like a marvelous attic filled with furniture, inventions, paintings, sculpture, awards, remembrances, and more. These may not be the “marquee” pieces in the extensive museum collection like paintings by William Morris Hunt, born in Brattleboro, but they comprise a treasure trove as the town unfolds in such a moving, wonderful way.

We had a whirlwind visit, having just missed museum hours (open daily 10-5, June through October) on a first try, and look forward to returning. The grounds are beautiful and include trails. The cemetery behind the former schoolhouse leads to the modest grave of Robert Frost, more to come on the poet in another, “Symmetry,” a series of blogs that will feature New Jersey cultural and historical connections outside the state. For more information on the Bennington Museum, visit: benningtonmuseum.org.

North American Reciprocal Museum memberships (NARM) with entrée to 924 museums and cultural centers around the world can be purchased in the museum shop or at participating New Jersey museums:

Battleship New Jersey Museum & Memorial
Hunterdon Art Museum, Clinton
Macculloch Hall, Morristown
The Monmouth Art Museum, Lincroft
Monmouth County Historical Association, Freehold
Montclair Art Museum, Montclair
Morris Museum, Morristown
The Newark Museum, Newark
Princeton University Art Museum, Princeton
The Stickley Museum at Craftsman Farm, Morris Plains
Visual Arts Center of New Jersey, Summit
Wheaton Arts and Cultural Center, Millville

For more information on NARM, visit: https://narmassociation.org/

Bennington Museum

Writing New Jersey Life

People and places of New Jersey…with some travels.

Category: Art

“The National Arts Club: In Love with the Arts”

“Greenwood Gardens: Fairy-Tale Enchantment”

“Central Park: The North Woods”

“Central Park: A Template of Beauty”

“Clicking at the Clark”

“The Two Graces: Grace Hartigan and Grandma Moses”

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