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+The Wyeth
dynasty
July 5, 2002Dear Artist,
The recent letter "Hothouse effect" generated some curiosity about the
Wyeths: "What kind of role model was N. C. Wyeth?" "What secrets were
behind all the creativity in that family?" Here are a few indications:
Newell Convers Wyeth (1882-1945) took art seriously. Influenced by Howard Pyle, he had
a steady focus, intellectual passion, and his studio life was at the center. As the Wyeth
children came into their own, they were witness to their father's work habits and the
steady flow of publishers and art directors to his studio at Chadds Ford. They knew what
could be done. They were encouraged to be self starters. Their independent workspaces were
within easy distance and they took an interest in each other's work. It was reported that
they withdrew like snails when so-called "bores" came onto the property to waste
their time. To some, the Wyeths often appeared not to be at home.
At the same time NC made his studio into an extended and informal school. He critiqued
and mentored promising young artists and often found accommodation for them nearby.
Everyone in the family was encouraged to follow their own direction: Ann had her first
symphony performed before the age of twenty. Nathaniel became an inventive scientist.
Andrew became one of the best known painters of his time. The Wyeth children were blessed
with a wise, affectionate, devoted mother and an irrepressible father. Both parents
expected excellence of themselves--as a matter of course they expected it of others. So
much of the effectiveness of the Wyeths springs from the dynamic nature of NC. One thing
is sure: Mentoring comes naturally to one who has been mentored.
He probed at the gaps in his knowledge.
He lived and acted in an impulsive fantasy of heroism.
He felt kinship with the land and valued its history.
He loved his studio and promoted studio-centricity.
He flayed at his weaknesses and boasted of his triumphs.
He was physical, direct, energetic, and creatively quick.
He insisted that everyone have times of concentration.
He implanted the thought of great possibilities.
He took part in and encouraged the play of life.
He believed in a steady, hard and private study of the
pictorial language.
Best regards,
Robert
PS: "NC really didn't talk about the mechanics of picture making. He opened our
eyes and minds to life and made us want to express what we found." (son-in-law John
McCoy)
Esoterica: The Brandywine Tradition by Henry C Pitz, gives an
appreciative look at the remarkable family of Chadds Ford, Pennsylvania. "It was a
closely knit and self-sufficient group, greatly inventive, full of pranks and
resources—they stimulated and struck sparks from one another." (Henry Pitz)
A virtual tour of N. C. Wyeth's studio is at http://www.brandywinemuseum.org/ncstudio.html
A short illustrated essay on the Wyeth dynasty, including Andrew Wyeth and grandson Jamie
Wyeth can be found at http://www.artcafe.net/artcenter/artfocus/feat6ap.htm
The following are selected correspondence arising from the above and other letters.
Thanks for writing rgenn@saraphina.com |
+Not impressed
N.C. may have been pretty good as an illustrator. Andrew and his son Jamie, in my view,
are uninteresting. I  believe it is accurate to say that most of the painting
community in New York does not take them seriously.Phyllis Floyd ZeuxisPF@aol.com
(RG note) Where is New York? |
+Memories of Pyle, Schoonover and Wyeth
At the tender age of 10 I was the last Howard Pyle scholarship
student at the old Wilmington Academy of Art in Wilmington, Delaware. This was where Pyle
lived, painted and taught. I studied under Frank Schoonover, another renowned Pyle
student, and was fortunate to also go out to Mr. Wyeth's studio at Chadds Ford,
Pennsylvania; a short drive from Wilmington every Saturday afternoon for several months.
Two years later Mr. Wyeth came into Wilmington to talk to us on our Tuesday night class
and continued to do so for two months. He was indeed an imposing figure. He so strongly
believed in the classical apprentice method of teaching that he fought the board of
education of Pennsylvania in order to take his children out of school and have them study
in his studio in the mornings and have them tutored in the afternoons. He succeeded and
that is why they all became such fine artists. He once said to me: "Andy, Henrietta
and Carolyn are a helluva lot better artists that I am." I have never believed that.
It is true that N. C. Wyeth seldom went into the "nuts and bolts" of drawing and
painting, much to my disappointment at that early age, but rather constantly stressed
reading and would regale us with stories about life and its unlimited possibilities. He
was a philosopher, an inspiration and a wonderful person. I shall never forget those early
years!Raymond Olivere, New York City, USAOliverestudio@aol.com
+Sexist
It pains me to have to say this, because you have never
struck me as a sexist individual, but you, like 99% of writers on art, have erred by
omission in the letter concerning the Wyeths. You name every member of the family except,
of course, the mother. You do give her credit ("wise, affectionate, devoted"),
but do not name her. No one does. No doubt she had a name, and an existence, and was
worthy as an individual, not just as a womb and a nurturer. But in your piece, she exists
only as a function: mother. Most of the credit for his own success and his children's
talent goes to dear old dad--as if, like Athena, the offspring sprang from Zeus's (NC's)
forehead. It takes two to tango, Robert, and all painters had mothers. Mom is a person;
why not say so?
Jane Champagne, Southampton, Ontario, Canada janec@bmts.com
(RG note) Point taken. Information on Carolyn Wyeth (Carolyn Brenneman Bockius) is
pretty thin. I've always been particularly interested in the influence of mothers on
artists—so if I'm able to find out some valuable items I will perhaps write
about her. I'm also interested in situations where parents as different as night and
day produce abnormally capable offspring. We do know that Carolyn was quiet and
unassuming, a member of the Unitarian Church, and introduced the reading of H. D. Thoreau
into the Wyeth family. With regard to the sexist thing, every once in a while I get a
letter from a male subscriber who grumbles that I'm consciously giving the Twice
Weekly letters a feminist spin. |
+"Christina's World"
 I've
always loved the work of Andrew Wyeth. I saw the Helga exhibit and have the catalogue.
Amazing work, but... why? It's also amazing that Christina's World is thought to be
'Modern Art'.Christina's World by Andrew Wyeth
Bill Cannon, California, USA dwc@writingacademy.com |
| (RG note) The "why" of why art touches and communicates is one of the vital
questions that all artists have to ask, Christina's World is one of the
best known and most discussed American paintings. Christina Olson was a neighbor of the
Wyeth's at their summer home near Cushing, Maine. She was crippled by infantile paralysis.
Wyeth came upon her one day (1948) near the family burying ground looking at her house
from the wide field in front of it. From the memory if this incident he developed the
tempera painting. He also painted her in 1947 seated on the threshold of her open doorway.
Andrew Wyeth seldom painted more than one figure in a composition. Home schooled, he was
brought up in a stimulating environment that stressed individuality and solitary pursuits.
The painting has some valuable pictorial elements—the averted face, which suggests
rather than identifies. The painting also includes the typically gothic idea of a home or
building as secondary motif. By giving this sense of place one is invited to conclude what
sort of person Christina might be. Also there is the psychological value of placing
elements isolated from one another in a defining space. The title is also well
chosen—enigmatic. An essay about Andrew Wyeth by Brian O'Doherty is at http://www.artchive.com/artchive/W/wyeth.html
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+Studio-centricity
I have a large and impressive studio on acreage in the same way as Andrew Wyeth and other
members of his family. A couple of years ago I borrowed heavily to build this studio. It
has turned out to be one of the best things I ever did. People see it as an impressive
building and make the connection that I must be an impressive artist. You mention
studio-centricity and I have never heard the word before, but that's what it is.
People beat a path to my door. Incidentally, I also love my studio. It makes me feel like
"The King."Anonymous
+Truth without embellishment
I'm a portrait artist, and something about the style of
Andrew Wyeth's portraits speak to me. It's because the beauty of the portrait is in
the truth of his subject. My clients often have a preconceived idea of how they want a
portrait of their child to look (hanging over the sofa) that has little to do with the
true beauty of the child. Andrew Wyeth sees the truth in his subjects and has the courage
to depict that truth without embellishment. I was first told about your website and Twice
Weekly Letters by a fellow home-schooling artist-mom. Andrew Wyeth was home-schooled, and
one of my favorite home-schooling quotes is N.C.'s. "The sheep-like tendency of human
society soon makes inroads on a child's unsophistications, and then popular education
completes the dastardly work with its systematic formulas, and away goes the individual,
hurtling through space into that hateful oblivion of mediocrity. We are pruned into
stumps, one resembling another, without character or grace." (N. C. Wyeth)
Laura Parrish, Glen Allen, VA, USA PARRISHML@aol.com
+Great Spirit
Isn't it funny how serendipity works? I have just returned home from
an incredibly wonderful day. Our new local gallery had its "grandly creative
opening" today and now I have just read your "Hothouse effect" letter,
which fits the occasion expressly! A group of us all worked together at different projects
during the day and the energy between us was hugely positive and life affirming. The
sharing of space together certainly is an expansive way to learn, grow and become aware of
that great creative spirit that is within all of us who would venture on the path.
Bonnie Cruickshank, clearcitrine@hotmail.com
(RG note) "Hothouse effect" deals with stimulating
creative familial settings. It's at
http://www.painterskeys.com/clickbacks/hothouse.htm
+Flying artists
How do you manage to fly on a plane with your painting
supplies? Are there some new regulations?
I once read the little booklet of the do and don'ts (forbidden
list of items on a plane) and "paints" is one of those. So for example for your
workshop in Brittany are the painting supplies provided on site? Do the participants have
the possibility to buy the paints? I found this list on the net:
http://cas.faa.gov/these.html
Are all flammable paints now forbidden on a plane?
Claude Courvoisier ccourvoisier@ns.sympatico.ca
(RG note) Perhaps subscribers would care to advise Claude and the
rest of us of any recent changes in this matter. Currently, after a short explanation at
the check-ins, I'm not having any problems with acrylic materials. We recently looked
at airplane etiquette at http://www.painterskeys.com/clickbacks/traveltips.htm
+Don't abuse your power
I've been connected with an older artist for many years who
believed very much in the power of artists working as a group. I devoted a great deal of
time for the good of the group along with some other artists. Over the years there have
been some positives and negatives. In the beginning it seemed to be a very positive thing
and I learned quite a bit. However, I can relate very much to "always the bridesmaid
never the bride" especially when there is an artist who is supposed to be the leader
of the group. Many times, the contacts others and I have made ended up being funneled
right to the leader, enhancing his reputation and sales. A leader of a group like this has
a great responsibility to act with the best intentions. Unfortunately, "friendly
competition" was promoted by playing one artist against the other without mutual
respect. Gloating on successes and heaping praise on the artists who worked for the group
as the leader saw fit, promoted feelings of lack of worth and anger in others who were put
in the hot seat for not working in line with the leader's ideals. This was supposed to
motivate artists to work for the group and had the opposite effect. While newcomers were
still in the "honeymoon phase" some of the older more experienced artists left
usually disgraced and their contributions never mentioned. As far as workshops go maybe
this is a way that the hothouse effect can be positive as artists come together for a
short time, trading inspiration and knowledge, where the dark side of long term
relationships is never experienced. I am writing this to warn young artists that while you
may learn to paint better from a very good artist in a studio setting rather than in a
university, there is always the risk of falling into disfavor with the head of the school
who can abuse the power. In an accredited school you may not get along with one professor
but they can't take the degree away from you. I also have a warning to artists who find
themselves with a certain power over their students or followers: Be aware when someone
chooses to learn from you they are investing their valuable time which could be spent
achieving their goals by other avenues. You are not indispensable or the only one who
knows anything. Don't abuse your power, as you may find that in the end it comes back to
haunt you in ways you would never suspect.
Name withheld by request |
þ
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Please address your letters to rgenn@saraphina.comYou
may be interested to know that artists from every state in the USA, every province in
Canada, and at least 100 countries worldwide have visited these pages since January 1,
2002. That includes Sandy Sandy sandysan@localnet.com
who reminds us that: "We do not stop playing because we are old; we grow old because
we stop playing." And also Gra-anna Saunders-Goldman of Machynlleth, Snowdonia,
Wales, luvbugheads@hotmail.com who sends the
following poem:
I wish for you a boundless freedom
to taste and feel and dance
through an eternity that takes
and holds you gently to meet
with your perfected fruit
and then
to begin again in new ways
the song
the dance of life ever flowing
rising, falling, breathing
witnessing the breath set free
the body to express and summon
moving to the sound
a voice set free
a changing ecstasy
self transforming
a vessel of wholeness
the dawn, the colour, the dew, the sun.
The Twice-Weekly Letters are in Russian at http://painterskeys.narod.ru/
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If you would like to see illustrated correspondence relating to
the last letter "Hothouse effect," please go to http://www.painterskeys.com/clickbacks/hothouse.htm
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