Farnsworth Magazine—Winter 2021-22

In 2022 the Farnsworth Art Museum’s Maine in America Award honors

Ashley Bryan.

The Farnsworth Art Museum is pleased to announce artist Ashley Bryan as the winner of the 2022 Maine in America Award. A painter, printmaker, illustrator, author, puppet maker, and storyteller, Bryan came to Maine in 1946 to attend the Skowhegan School of Painting and Sculpture. The artist visited Little Cranberry Island that summer, and has lived on the island ever since retiring from Dartmouth College in 1988. The Maine in America Award is given each year to an individual or group who has made an outstanding contribution to Maine’s role in American art.

Dear Friends,

At the Farnsworth, we are constantly seeking opportunities to better serve our ever-growing audiences. Over the past several years, we have made incredible strides in grounding the museum financially. I’m pleased to announce that our $12 million Building Tomorrow’s Farnsworth campaign came to a successful close in December 2021. The Farnsworth is strong, healthy, and ready to move forward—thanks to you all, our generous supporters.

Our exciting future:

We are working with a talented team of architects to reimagine our campus through a comprehensive master planning process. Named the Centennial Plan because it aligns with our 100th anniversary in 2048, the plan thoughtfully considers our bold aspirations by adding a host of visitor amenities, galleries, and collection storage, as well as an expanded celebration of three generations of Wyeth art.

The Farnsworth is developing a new five-year strategic plan, with a focus on growing our programming to better serve our many audiences.

In adhering to our mission to celebrate Maine’s role in American art, we will provide the public with a more dimensional understanding of the artists that have contributed to American art history, as well as invest in today’s growing artistic community here in Maine through a dynamic exhibition and collection program.

We are growing our partnerships with cultural, educational, social service, and healthbased community and statewide organizations in order to present diverse and engaging programming that celebrates art in new ways.

We are committed to an equitable museum where all voices are represented and respected in our programs, our visitors, staff, and the communities we serve. The Farnsworth’s Diversity, Equity, and Inclusion (DEI) Task Force will guide this vital work.

I look forward to updating you on our progress as we set our sights squarely on an exciting and reenergized future—one full of promise and potential. Thank you for your unflagging support and encouragement.

My best wishes for a healthy, safe, and art-filled 2022!

Christopher J. Brownawell, Director

GlassClaws:PulsePoint,2007

MuseumPurchasewithfundsprovidedbytheSeattle Foundation,Mrs.JeanA.Rhodes,Mr.andMrs. EllsworthC.Alvord,III,Mr.andMrs.RichardW.Alvord andMrs.KatharynAlvordGerlich,2018.10

MAGAZINE STAFF

Karen Francomano

Associate Director of Advancement Ann Scheflen Chief Advancement Officer Anneli Skaar Creative Director

David Troup Marketing and Communications Manager

COVER IMAGE: Richard Remsen

Photography by Sarah Beard Buckley

Building Tomorrow’s

Farnsworth: Art, Innovation, and Promise

By Catherine Hinman

In late 2017, the Farnsworth board of trustees internally committed to raise funds to secure a bright future for the museum and the community it serves. Little did they know that a world health crisis was looming. Several years and one pandemic later, we are pleased to report that the Farnsworth has not only survived, it has thrived.

The following feature highlights some of the key ways the museum continues to reach into the lives of individuals and families near and far and forever expand its impact. Art, as we like to insist, cannot be contained.

Major accomplishments by the museum in the past three years have been possible for one reason only. The Farnsworth ends this year on historically sound footing because of the goodwill of its donors, says Gerald A. Isom, president of the board of trustees.

“We managed to get through the raindrops without getting soaked because of the excellent support of friends, foundations, and organizations,” he says.

As a testament to the museum’s standing in the community and the respect it has garnered for its mission, the mu-

seum’s friends came forward with more, not less, during the pandemic.

“That doesn’t happen unless you have a good relationship with people,” Isom says.

Gifts over the past three years increased the museum’s endowment from $19 million to more than $26 million and allowed the museum to pay off a long-term obligation, leaving the museum completely debt free. Its financial foundation strengthened, the Farnsworth has been able to improve visitor experiences both onsite and online, ramp up its marketing programs to further appreciation of Maine’s role in American art, and begin planning critical future investments in its collection, programs, and physical assets.

“The crisis pushed us to be creative and flexible, and it certainly underscored the need to strengthen and sustain our institution to meet future challenges and opportunities,” says Farnsworth Director Christopher J. Brownawell.

Significantly, donors contributed more than $2.2 million to permanently fund the Phyllis Wyeth Chair for Learning and Engagement at the Farnsworth, an enthusiastic affirma-

“I joined this campaign for one reason –to ensure this Museum is able to invest in its foundation, plan for the future, and elevate its programs and collection to a new level of prominence.”

- Gerald A. Isom, Co-Chair of the BuildingTomorrow’sFarnsworth campaign

“The Farnsworth is rooted in the belief that art transforms individuals, communities and ultimately, societies.

With great art, education for all ages and outreach into the community, especially our public schools, the museum now has a clear opportunity to inspire current and future generations like never before.

If we join together to take our mission to the next level, the rewards will be extraordinary.”

TED AND BETTY LONG are passionate believers in the power of education to transform lives. They have seen it with their own eyes. Ted is president emeritus of Elizabethtown College in Lancaster, Pennsylvania, where he served from 1996 to 2011. Betty was assistant to the chair of the board of trustees at Elizabethtown.

The couple, who have been spending summers in Maine since 1991, purchased a home in Rockland in 1997 and retired here in 2011. They have been advocates for art throughout their lives. Ted established four new arts majors at Elizabethtown. Betty majored in music education in college in addition to receiving a master’s degree in religion.

When Director Christopher J. Brownawell (whose father coincidentally attended Elizabethtown College) explained the vision for an endowed chair for arts education—today the Phyllis Wyeth Chair for Learning and Engagement—it was an easy decision to support it.

“We assisted in making it come to fruition and that is a happy thing,” Ted says.

Betty serves on the museum’s Learning and Engagement Committee. The Longs see tremendous potential for the Farnsworth in Rockland, where since retiring they have become leaders in their church, in community service, and in civic activities, such as the Rockland Heart & Soul community engagement project. The museum’s collection of Maine art, with Maine subjects such as life on the working waterfront, can resonate with many regardless of their experience in art, they say. They believe the Farnsworth’s outreach will strengthen the community and hope for the day when there are lines of visitors into the museum of diverse vocation, culture, and age.

Ted holds his master’s degree and Ph.D in sociology. His long career in higher education includes positions at George Washington University, Hollins University, Washington and Jefferson College, and Merrimack College. He is a former trustee at Capital University, his alma mater (and Betty’s). He knows how important endowments are for carrying out programs. The new endowed chair at the Farnsworth will be critical to the success of its education goals, he says.

“They can look at the future and anticipate over time that they can sustain the program,” he says.

- Sylvia A. de Leon, Farnsworth Trustee

- Sylvia A. de Leon, Farnsworth Trustee

tion of support for the museum’s nationally recognized education programs and the integral role audience development plays in achieving its mission. As the first director, Gwendolyn Loomis Smith, who came aboard this summer, will lead the museum’s efforts in education, community outreach, and collaborative partnerships.

The Farnsworth was the only art museum in Maine to remain open throughout most of the pandemic. Visitors could draw comfort and inspiration from new museum installations, including the exhibition of twenty-seven paintings that were a gift of the late Betsy James Wyeth (1921–2020). The museum has never looked better as

donor dollars supported a new audio tour, native gardens on Main Street and along the walk to the Wyeth Center, improved audiovisual experience in the auditorium, and many other campus improvements. The visitors’ experience was enhanced online too with a new digital learning studio to create online programs that connect the museum to audiences beyond its bricks and mortar. These include poetry workshops, curator talks, conversations with artists, painting forums, and more.

Donors even contributed to efforts that raised both our profile and Rockland’s. To stay connected to members, donors and the community during the pandemic, the

Farnsworth stayed connected and grew its digital audience, telling thousands more individuals locally and nationally about Maine artists and its collection through a robust social-media strategy and its new weekly e-newsletter “Art Cannot Be Contained.” For three consecutive years, a supporter paid for a full-page ad in the New York Times that proclaims the city as the “Art Capital of Maine.” Last year saw the release of the 384-page Maine and American Art: The Farnsworth Art Museum published by arthouse publisher Rizzoli International.

Philanthropic support also helped us look toward the

future. The Farnsworth has recently completed a two-year master planning process that includes a comprehensive survey of all buildings and structures on its architecturally diverse campus in the heart of Rockland and provides a framework for future strategic capital improvements and investments. The Olson House—a National Historic Landmark in Cushing and the subject of more than 300 works by Andrew Wyeth—is also among the top priorities. In 2019, the Farnsworth was awarded a prestigious Save America’s Treasures grant by the National Park Service to conduct a historic structures assessment and address restoration and preservation concerns at the house, portions of which likely date to the late 18th

“The Farnsworth Art Museum is absolutely central to Maine’s cultural and economic vitality.

For seven decades, it has introduced millions of visitors to Maine’s important contributions to the history and development of American art.”

- Jamie Wyeth

Jamie Wyeth speaking at the 2017 Maine in America Award presentation

When ANN DODDS COSTELLO and DICK COSTELLO decided to buy their home in Owls Head in 2004, it wasn’t just the 180-degree panorama of Penobscot Bay that sealed the deal. It was the proximity to art. They have spent seventeen summers now in midcoast Maine, becoming in that time, as both collectors and patrons, important supporters of the region’s arts scene, the Farnsworth in particular.

Dick, who grew up in suburban Philadelphia, is a graduate of the University of Pennsylvania and the Wharton School of Business. He was an advertising executive for twenty-nine years, including nineteen years with TBWA (famous for the Absolut Vodka campaign) in New York. In 1996, he and Ann relocated to Los Angeles, where he led strategic marketing and new business initiatives at Universal Studios.

Ann, a native of Dallas, is a writer. She graduated from Duke University and moved to New York, where she met her husband. They have been married fifty-one years. Ann, who holds a master’s degree in journalism from Columbia University, is the author of Smart Women: The Search for America’s Historic All-Women Study Clubs and has written about art and artists in midcoast Maine.

Dick, a member of the Farnsworth board of trustees since 2013 and current chair of its marketing committee, naturally has had a huge interest in its marketing programs. Media coverage of Rockland’s emergence as an art destination planted a bold idea in his head. With support from museum leadership, he set about branding Rockland as “the art capital of Maine.” It turned heads and drew visitors. In 2021, his Farnsworth gift, among other things, underwrote for a third year a full-page ad in the New York Times annual museums supplement making that daring, but hard to dispute, assertion.

“If you can live up to the claim and repeat it, and repeat it, and repeat it, it becomes gospel,” Dick says.

One of the pleasures of contributing to the Farnsworth, the Costellos say, is that they have been able to see the impact.

“The Farnsworth Art Museum is a national treasure. The museum’s education programs reach students across the state and, with the help of technology, bring a world-class collection into the classroom. This campaign will expand the museum’s reach to a national audience, and we are proud to be part of making that happen.”

- Gail Catharine and John Bertuzzi, Honorary Chairs of the BuildingTomorrow’sFarnsworth campaign

Detail: N.C. Wyeth, Maine Headland, Black Head, Monhegan Island, 20th century

The Farnsworth announces that Chief Curator MICHAEL KOMANECKY stepped down from his position in January, and Jane Bianco has been named Interim Chief Curator.

Komanecky has played a vital role in advancing the museum’s exhibition program, collections, and historic sites. Key achievements during his tenure include co-authoring the award-winning collection catalogue, Maine and American Art, and curating major exhibitions such as The Shakers:

From Mount Lebanon to the World, Robert Indiana and the Star of Hope, Slab City Rendezvous, and N.C. Wyeth: Poems of American Patriotism. In addition, Komanecky has led the Farnsworth through extensive renovations at both our historic properties, and served as interim director in 2009–2010, working with then-board president Richard Aroneau to initiate the Andrew Wyeth Memorial Endowment Campaign.

Over the years, Komanecky has been instrumental in expanding the Farnsworth’s art collection. With help from the Friends of the Farnsworth Collection and other generous donors, we were able to add works by Paul Capronigro, Richard Estes, Red Grooms, Mimi Gross, Cig Harvey, Robert Indiana, John Adams Jackson, Robert Laurent, Waldo Peirce, and Eliot Porter, among others.

To celebrate Komanecky’s contributions and service to the Farnsworth Art Museum, an exhibition fund has been created in his honor. To make a gift, please contact Ann Holton, Director of Leadership Gifts, at aholton@farnsworthmusuem. org or visit our website at farnsworthmuseum.org.

Photography by Michael O'Neil

Campaign Accomplishments:

• Farnsworth endowments grew from $19M to $26M through donor gifts and investment returns;

• The Phyllis Wyeth Director of Learning & Engagement was initiated with a $2.7 million initial investment;

• Debt was completely eliminated;

• Campus improvements were made that significantly enhance the visitor experience;

• Investments in marketing grew our national and regional audience;

• A historic structures report was completed for the Olson House;

• Architects Ann Beha and Michael Boucher delivered a comprehensive master plan for the campus that will guide future investments and improvements for years to come;

• and more.

What Funds the

GWENDOLYN LOOMIS SMITH, Gwendolyn Loomis Smith, a native New Englander with long experience as a steward of American art and historic houses, is taking the Farnsworth’s education programs to the next level as the first Phyllis Wyeth Director of Learning and Engagement. In this senior management position, supported by the museum’s first endowed chair, Smith will be leading Farnsworth’s more broadly defined initiatives to connect with families, children, and adults of all backgrounds.

“I am looking for innovative ways to connect with the community to allow visitors to have a personal connection to the museum and looking forward to partnering in the community and afield,” says Smith, who joined the Farnsworth in July.

century. That work is now underway, the results of which will guide future preservation efforts.

Importantly, the Farnsworth wants to grow responsibly, and it has a partner in that effort, too. In 2021, the museum was awarded almost $30,000 in the inaugural round of the Helen Frankenthaler Foundation’s Climate Initiative Grants. Using these funds for technical assistance, the museum is working with two firms to provide recommendations for a heating, ventilation, and air conditioning system in the main museum that will at once reduce the museum’s greenhouse gas emissions and uphold the highest standards of art conservation.

Abstract Expressionist artist Helen Frankenthaler (1928–2011) established and endowed the foundation during her life. With its climate initiative grants—a total of $5.1 million made to 79 institutions nationwide in the first year—her foundation means to encourage visual arts institutions to take a leadership role in advancing the goal of carbon neutrality. The Farnsworth was called out in a New York Times profile as one of the smallest institutions amid “tentpole museums” nationwide to receive grant funding for its sustainability efforts.

The Farnsworth’s community of supporters responded to the museum’s needs with the grit and determination legendary of Mainers. It has been a transformative time, one which will be remembered for the individuals and groups whose generosity ensured a bright future for the Farnsworth.

To make a gift in support of building tomorrow’s Farnsworth, please call Ann Scheflen at 207-3906002 or email ascheflen@farnsworthmuseum.org.

Phyllis Mills Wyeth (1940–2019) is the late wife of artist Jamie Wyeth. Her unstinting dedication to arts education inspired donors to give more than $2 million to endow this chair.

Smith comes to the Farnsworth from Historic New England, where she managed twelve historic sites in New Hampshire and Maine as regional site administrator for Northern New England. She holds a bachelor’s degree in art history from Smith College and a master’s degree in museum studies from Harvard University, and is an Attingham Trust Summer School scholar.

On the path that led her to the Farnsworth, Smith was also a curator for Planting Fields Foundation, in Oyster Bay, New York, and coordinated traveling exhibitions for the Peabody Essex Museum, in Salem, Massachusetts. She also worked at The Clark in Williamstown, Massachusetts, on exhibitions and expansion projects.

Smith grew up near historic Concord, Massachusetts, where her family nurtured a love for art through museum visits and an affection for Maine through vacations in Cushing. She began her museum career in high school as a summer docent at the Ralph Waldo Emerson House Museum in Concord. She enjoyed it so much she returned for ten summers. Now Smith is eager to share her passion for art and history with Farnsworth audiences.

Farnsworth: 25% from endowments and investment, 25% earned revenue from store sales, admission, and program fees, 50% contributions from individuals like you.

In life, the extraordinary C. WICKHAM “WICK” SKINNER (1924–2019) —manufacturing wizard, professor, and philanthropist— helped usher the Farnsworth through a seminal period of growth. But he didn’t see that as enough. Wick aimed to ensure the continued evolution of the museum he loved even after he was gone.

Wick, who passed away January 28, 2019, made a bequest to the Farnsworth that ultimately reached more than $1.4 million. A donor of rare generosity and vision, Wick’s gift was instrumental in the new Phyllis Wyeth Chair of Learning and Engagement at the museum.

Wick spent thirty years making a difference for midcoast Maine at the Farnsworth, but he achieved laudable success in his profession first. A recognized authority in industrial production, he earned his bachelor’s degree in chemical engineering from Yale, and an MBA and Ph.D from Harvard. While in the Army, he was assigned to the Manhattan Project in Los Alamos, Mexico. After a decade in management for Honeywell, he began a distinguished twenty-fouryear teaching career at Harvard. In 1984, at the age of 60 and ready for new opportunities, he retired to St. George with his wife, Alice. Wick threw himself into midcoast Maine life with gusto. In addition to the Farnsworth, he served the Natural Resources Council of Maine, Maine Public Broadcasting, the Georges River Land Trust, the University of Maine System, and Bath Iron Works.

Wick joined the Farnsworth board of trustees in 1989 and almost immediately was assigned to lead the effort to modernize and reconfigure the museum and head a $1.9 million capital campaign. Under his watch as board chair from 1994 to 1998, J.J. Newbury was purchased and converted into the Morehouse Galleries; the former Rockland United Methodist Church was remodeled to house the Wyeth collections; the Gamble Education Center was created; and a house was removed to make way for the sculpture garden.

Reflecting on Wick’s giving in an article in the Harvard Crimson in 2019, Farnsworth Director Christopher J. Brownawell said, “His approach was: if we can make it better, let’s make it better.” And so he did at the Farnsworth, and his bequest guarantees the work will carry on.

The Farnsworth thrives at this dynamic point of intersection—where past and present meet and point the way to the future, where a focus on the unique importance of Maine finds a ready national audience where any one of us can encounter greatness.

“My memories of the Farnsworth extend back to my childhood. I hold the museum near to my heart and am so very proud of the exceptional growth of its presence in our community and in the art world. I am honored to be part of this campaign and anticipate a brilliant future for the Farnsworth as we collectively strengthen its resources through this important campaign.”

- Stephanie Brown, Co-Chair of the BuildingTomorrow’sFarnsworth campaign

Detail: Fitz Henry Lane, Owl’s Head Light, Rockland, Maine, ca. 1856

TOMORROW’S FARNSWORTH CAMPAIGN DONORS

(As of 10.1.2021)

$1,000,000+

Gail Catharine and John Bertuzzi

Ann and Dick Costello

MOSI Foundation/Evelyn and Gerry Isom Estate of Wickham Skinner

$500,000+

Charles Altschul

Mrs. F. Eugene Dixon

$250,000+

Stephanie L. Brown

Cornelia Cogswell Rossi Foundation

Fidelity Foundation

Victoria and Alan Goldstein

Jacqueline B. Mars

Elisse Walter and Ronald Stern

Alice L. Walton Foundation

The Wyeth Foundation

$100,000+

Anonymous (2) Cascade Foundation

Mazie Livingston Cox and Brinkley Thorne

Sylvia A. de Leon and Lynn R. Coleman

Susan Deutsch and Carlisle Towery

Fletcher Family Foundation

The Gilder Foundation

Institute of Museum and Library Services

Anne and James Jenkins

Kohler Foundation

National Park Service/Save

America’s Treasures

Elizabeth and Thomas Renyi

Ellen C. L. Simmons & Family Kaki and J.P. Smith

The Wyeth Foundation for American Art

$50,000+

CedarWorks/Susan and Duncan Brown Estate of Katherine M. De Rochemont

Lisa and Brian Garrison

Emory and Fred Hamilton

Donna and Gregory Knowlton

Liv Rockefeller and Kenneth Shure Anne and James Rogers Laura and Ed Waller

$25,000+

Anonymous (2)

Katharyn and Richard Aroneau

The Birchrock Foundation

The Davis Family Foundation Helen Frankenthaler Foundation

Ms. Betty Long and Dr. Theodore Long Carol and Edward Miller

Tina and Joe Pyne Todd Robinson

$10,000+

Anonymous Mary Alice and John Bird

Broeksmit Family Foundation

Paula Carreiro and Peter Branch

Susan Goodridge Crane

Robert E. Kulp

Elizabeth Kunkle

Emily and Jim Rowan Susan and Norman Thomas

Marguerite Thompson Zorach (Santa Rosa, CA 1887–1968 Brooklyn, NY)

Eden, 1917 Wool hooked on burlap backed with linen Gift of Pamela Canfield Grossman, 2020

“Our floors were red lead, our walls lemon yellow. We made our little hall into a Garden of Eden with a life-sized Adam and Eve and a red and white snake draped around the trunk of a decorative tree, with tropical foliage surrounding it all.”

1 – Marguerite Zorach

New Acquisition: Marguerite Thompson Zorach’s Eden

Marguerite Thompson Zorach was a painter, textile artist, designer, and a major figure in the development of American modernism. Dividing her time between New York and Maine, she refined her ability to recognize what was meaningful in her world and to create work “built out of my life and the things that have touched my life.”

She came of age early in the twentieth century, emerging from a sheltered life in Fresno, California, to nearly four years abroad as an adventuresome student and traveler. In Paris she was stirred by French Fauvism and other avantgarde movements, as well as visual traditions throughout Europe and Asia. Her impressions made her adept at melding elements of global design into her work. She met artist William Zorach in Paris, and in 1912, the year of her return to America, the couple married. They made their home in Greenwich Village, New York, venturing forth into the lively intellectual and artistic scene there. Like many artists, their living quarters merged with studio and display spaces for their art. As she became known for her textiles that included batiks, paintings on silk, embroidered bedspreads, hooked rugs, and large-scale, detailed compositions that she called “embroidered tapestries,” she received commissions and gained fame in national press reviews.

Her many renditions of Adam and Eve depicted in her paintings and textiles, and her imaginative treatment of paradise gardens over the course of her early-to midtwentieth-century career, are expressions symbolic of that release from convention during a new age in which she lived. In his autobiography Art is My Life, William Zorach described one of the earliest of these designs, the wall painting that first transformed the Zorachs’ living and working space in Greenwich Village:

Our floors were red lead, our walls lemon yellow. We made our little hall into a Garden of Eden with a life-sized Adam and Eve and a red and white snake draped around the trunk of a decorative tree, with tropical foliage surrounding it all.1

It was a motif that continued to interest Marguerite Zorach. In 1940 in the Zorachs’ Maine summer home, she painted a Garden of Eden directly upon the four walls of its living room, an extended program of multiple Adams and Eves. This later iteration of a mythological Eden incorporated multiple self-portraits set amid fields of insects, birds, beasts, and flowers, becoming, in the end, a tribute to her independent vision.

1 Art is My Life, The Autobiography of William Zorach. The World Publishing Company: Cleveland and New York, 1967, 37.

One of the most significant of a rare number of extant textiles by Zorach, Eden has been generously given to the Farnsworth by Pamela Canfield Grossman after being first shown here in the museum’s 2017 Zorach retrospective. Designed by Zorach a hundred years earlier in 1917 as a wall hanging inspired by the mural she designed for her Greenwich Village home shown in the photograph accompanying this essay, Eden is composed of wool threads, still brilliant in color, looped in a rug-hooking technique on burlap. A portrayal of Adam and Eve in a

tender embrace, it is also a portrait of Zorach and her husband, made at the beginning of their personal and professional partnership.

Pamela Canfield Grossman lived with Eden in her California home for many years. In a recent interview with Farnsworth curator Jane Bianco she recalled how the wall hanging came into her family.

“I believe it was in the 30s that my grandparents, Helen and Lathrop Brown, somehow discovered the Zorachs’ work and became great patrons. After my grandparents died, we grandchildren inherited various pieces of art with the option to select what we would like, and Eden came to me.”

William Zorach mentions first meeting the Lathrop Browns at the Daniel Gallery where several of Marguerite’s textiles were exhibited and later describes two others that were purchased by the couple, who were delighted with her work.2 Eden was exhibited in New York beginning in the 1920s and more recently in a 1987 retrospective of members of the New York Society of Women Artists, of which Zorach was a founder, and as well as in the 2017 Farnsworth show, Eden was featured in Mildred Cole Peladeau’s seminal study, Rug Hooking in Maine 1838–1940 3

Pamela further noted, from the gallery where this year’s Women of Vision exhibition tells a story of art and philanthropy, that “my grandmother Helen Hooper Brown was a really interesting woman.” Among her philanthropic acts that included supporting the work of many artists, including William and Marguerite Zorach, she once bought a large house just outside DC and made it a temporary home for amputees who had come back from World War I, not quite ready to go back to their families. Pamela emphasized that “she stayed in the background, she did this quietly.”

Ways to Give

Membership

Support the Farnsworth in its mission to celebrate Maine’s role in American art and receive free admission and other important benefits all year long.

Patron’s Circle

Leadership-level members provide exemplary support to the museum. Members enjoy behind-the-scenes tours and exclusive benefits.

Museum Fund for Excellence

The Museum Fund for Excellence keeps exhibitions strong, education accessible, and funds our commitment to deliver free community programs as well as free admission to Rockland residents.

Corporate and Business Partners

Support the museum through your business or corporation and receive valuable recognition opportunities for your business, employees, and clients.

Exhibition Development Fund

Support a season of exhibitions and related educational programs at the museum or help fund our model education outreach.

Gifts of Art

Donations of art, or contributions to purchase art, expand our collection and mission. Donations of artwork are reviewed for acceptance by our curatorial team and board.

Lucy Farnsworth Circle

Provide a lasting legacy at the museum through a bequest, lifetime or estate gift. Or, make a gift now that perpetuates your annual support now far into the future.

Endowment

Establish a new fund, or add to the principal of an existing fund, to provide a reliable source of annual income that sustains the Farnsworth forever. To

2022 BOARD OF TRUSTEES

2 Art is My Life, 57-58.

3 Amy J. Wolf, New York Society of Women Artists 1925, ACA Galleries, New York City, March 7–25, 1987.

Mildred

Victoria

Greg Knowlton Treasurer

Alexis Akre Alla Broeksmit

Stephanie L. Brown Paula J. Carreiro

Dick Costello

Sylvia A. de Leon Lisa Garrison

Jean Kislak Lisa Kranc Robert E. Kulp Thomas A. Renyi Susan Schreiber Kenneth Shure Susan Allen Thomas Laura Wack

Presidents Emeriti Charles Altschul Richard Aroneau Susan M. Deutsch H. Allen Fernald Anne W. Jenkins Frederic R. Kellogg

Trustees Emeriti Gail Catharine Bertuzzi Mazie Cox Elizabeth Kunkle John Rosenblum

Ex Officio Christopher J. Brownawell Director

Farnsworth Art Museum including

• Farnsworth Homestead

• William A. Farnsworth Library

• Wyeth Center

• Wyeth Study Center

• Wyeth Research Center

• Olson House

• Gamble Education Center

• Julia’s Gallery for Young Artists

16 Museum Street Rockland, Maine 04841 207.596.6457 farnsworthmuseum.org

WriteUs@farnsworthmuseum.org

Cole Péladeau, Rug Hooking in Maine 1838–1940, Schiffer Publishing, Ltd, Atgen, Pennsylvania, 2008, 135.

Marguerite Zorach with her son Tessim and baby Dahlov at 123 W. 10th Street, 1918.Her Garden of Eden mural can be seen through the doorway behind the artist and young mother.

Courtesy Dahlov Ipcar Archives

Gerry Isom President Ed Waller Vice President

Goldstein Second Vice President Ron Stern Secretary

16 Museum Street

Rockland, Maine 04841 farnsworthmuseum.org

The Farnsworth Art Museum meets life safety, security, environmental, and accessibility codes.