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Salem, MA
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Peabody Essex Museum (PEM)
161 Essex Street
Salem, MA 01970
978.745.9500 | 866.745.1876 
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Exhibitions:

Hans Hofmann: The Nature of Abstraction

-Order of Imagination: The Photographs of Olivia Parker

Kimsooja: Archive of Mind

A Lasting Memento: John Thomson’s Photographs Along the River Min

A Passion for American Art: Selections from the Carolyn and Peter Lynch Collection


Events

Hans Hofmann: The Nature of Abstraction
September 21, 2019, through January 5, 2020

This Fall, the Peabody Essex Museum (PEM) presents a fresh perspective on the artist and teacher widely considered to be one of the most influential American artists of the 20th century. PEM is the exclusive east coast venue for Hans Hofmann: The Nature of Abstraction organized by the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA). On view from September 21, 2019, through January 5, 2020, the exhibition presents the most comprehensive examination of Hans Hofmann's innovative and prolific career to date.

In 1963 Hofmann donated his most significant paintings to BAMPFA to form the world’s largest museum holdings of the artist’s work. Featuring more than 45 paintings—including works from private collections that have never been exhibited in a museum setting—Hans Hofmann: The Nature of Abstraction presents an unprecedented look at Hofmann’s studio practice, focusing on his continually experimental approach to painting and its expressive potential.

“This exhibition reveals the full force and voluminous output of Hofmann’s creativity. Powerfully influenced by Matisse’s use of color and Cubism’s displacement of form, he was continually evolving his practice and searching for new forms of expression,” said Lydia Gordon, PEM’s Associate Curator for Exhibitions and Research and the exhibition’s coordinating curator. “Both as a teacher and a practitioner, Hofmann famously wrestled with the ‘push and pull’ of a painting, which he described as the interdependent relationships among form, color, texture, and space that create the effect of movement.”

Hans Hofmann (1880–1966) played a pivotal role in the development of Abstract Expressionism and is celebrated for his exuberant canvases. Renowned as an influential teacher for generations of artists—first in his native Germany, then in New York and Provincetown—Hofmann left an indelible legacy on painting. As a teacher and as a modern artist, Hofmann associated with many of the most notable artists, critics, and dealers of the 20th century, including Pablo Picasso, Georges Braque, Wassily Kandinsky, Peggy Guggenheim, Clement Greenberg, Jackson Pollock, and many others.

In the summer of 1935, Hofmann established an art school in Provincetown, a spot he would return to for the next 20 years. Countless students—including Helen Frankenthaler, Lee Krasner, and Ray Eames—were inspired by Hofmann’s bold, color-filled canvases and his exacting methods of instruction. He advocated the use of nature as a starting point and he prolifically painted scenes in and around Provincetown in varied stylistic approaches—Cubist, Fauvist, Expressionist. Soon Hofmann’s colorful explorations of pictorial space evolved into artistic expressions of mood, states of mind, and the counterforces of nature.
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Hofmann’s iterative, explorative approach continued in earnest through the 1940s, notes Lucinda Barnes, exhibition curator and curator emerita at BAMPFA. “The Wind from 1942 presents a compelling interplay between a deep blue ground and swirling white and blank overlays. Hofmann set interlacing webs of brushed and dripped pigment against this broad color zone to create a pulsating rhythm of expansion and contraction, in and out and across the picture plane.”

Accompanied by a fully illustrated catalog, this exhibition marks the most significant opportunity to reexamine Hofmann’s artistic legacy since his death in 1966. In recent decades, discourse around Hofmann has focused primarily on the remarkable color plane abstractions he created in the 1950s and ’60s, which were the focus of major exhibitions during his lifetime. Hans Hofmann: The Nature of Abstraction broadens the perspective, reconnecting many of the artist’s most iconic late-career paintings with dozens of remarkably robust, prescient and understudied works from the 1930s and ’40s in order to chart a trajectory of his singular, iconic style.

EXHIBITION CREDIT
Hans Hofmann: The Nature of Abstraction is organized by University of California, Berkeley Art Museum and Pacific Film Archive. The exhibition is made possible with lead support from the Renate, Hans & Maria Hofmann Trust. Major support is provided by Bob and Dana Emery and Elissa Edelstein Warner. Additional support is provided by Charles and Naomie Kremer, the Terra Foundation for American Art, the Nancy and Joachim Bechtle Foundation, and an anonymous donor. Carolyn and Peter S. Lynch and The Lynch Foundation, Jennifer and Andrew Borggaard and Kate and Ford O'Neil provided generous support. We also recognize the generosity of the East India Marine Associates of the Peabody Essex Museum.

Corporate Partner: MarketStreet Lynnfield

Media Partner: Boston Spirit

Order of Imagination: The Photographs of Olivia Parker
July 13 - November 11, 2019

For more than 40 years, Olivia Parker (b. 1941) has used photography to explore the relationships between vision, knowledge, and the natural world. From deceptively simple still lifes that transform the commonplace to her most recent work exploring memory loss, Order of Imagination: The Photographs of Olivia Parker features more than 100 intricately composed photographs that reflect the artist’s wide creative range and unflagging curiosity. On view at the Peabody Essex Museum (PEM) from July 13 through November 11, 2019, this is the first exhibition to present a comprehensive retrospective of Parker’s extensive career.

A highly-celebrated and acclaimed photographer, Olivia Parker’s work is represented in major collections, including the Art Institute of Chicago, the Museum of Modern Art (MoMA) in New York, the Museum of Fine Arts, Boston, the George Eastman Museum, and PEM. Originally trained as a painter, the Massachusetts-based artist notes that she is drawn to photography for its ability to create a controlled dialogue between nature and abstraction, permanence and ephemerality, and for its ability to use light to sculpt form and define space.

Parker recalls spending much of her childhood either at museums or outside exploring her surroundings– climbing trees, tramping through the woods and observing natural phenomena. In 1967, the year Parker’s first child was born, she and her husband John moved to a sprawling house on a hill overlooking the ocean in Manchester. This proximity to the ocean encouraged daily walks, where Parker often found shells, kelp, driftwood and other natural objects that inspired her painting and later her photography.

Parker’s decision to transition from painting to photography in the early 1970s coincided with the development of a robust and rapidly expanding photography community in the Boston area. In this period, Parker began making alluring and poetic images assembled from a rich variety of found objects including shells, feathers, animal skeletons, scraps of metal, maps, old books, and nautical charts. Whether a Renaissance text, an 18th-century teacup, or a distinctive bit of metal, Parker incorporates these materials into her photographs and coaxes out their possible meanings through distinctive compositions and her mastery of light. Alongside her photographs, PEM’s exhibition includes an installation of some of the artist’s found objects.

“It is always a gratifying and wonderful journey to be able to look at an artist's whole career,” says Sarah Kennel, PEM’s Byrne Family Curator of Photography. “In the case of Parker’s work, it’s been a great privilege to understand the way she lives and how impacted she is by her environment–the items that she collects, how light and shadow play in her studio, how her wit and understated humor infuse her work. When you begin to unlock these pictures, you discover all of these ways in which she is making little visual jokes and word plays to further enliven the work and reward close reading.”

EXPERIMENTAL NATURE
Primarily self-taught as a photographer, Parker has always explored a rich variety of photographic processes and materials. The exhibition opens with Parker’s earliest photographs from the late 1970s through the late 1980s, a period marked by artistic innovation and experimentation with the gelatin silver printing process, including Parker’s exploration of split-toning. This is a darkroom phenomenon that occurs when a print is left for longer than recommended in a selenium toner bath, causing the normally neutral black and white tones of a photograph to take on rich warm reds in some areas and cool bluish-greens in others. Using this technique to give depth and definition to her prints, she created evocative and meditative compositions that explore objects on the cusp of transformation—for example, a bulb awaiting new life, or flowers on the edge of decay.

During this time, Parker was part of an expanding group of photographers embracing Polaroid processes and using the Polaroid Corporation’s 20x24 camera—its largest manufactured apparatus—to make extraordinarily lush images, rife with detail. Drawn to color’s emotive and descriptive potential, she also made and processed dye destruction prints, sometimes placing and exposing the positive film directly in the camera in order to take full advantage of the process’s richness and subtlety of tone. Working in color and on a larger scale also encouraged Parker to more directly incorporate elements of still-life painting traditions into her work.

EMBRACE OF NEW TECHNOLOGIES
In the early 1990s, Parker learned Photoshop and was one of the first artists to use digital image composition techniques as part of a fine art practice. Scanning and recombining many of her negatives into new compositions, Parker discovered that digital forms of image composition extended her long-standing practice of visual collage and assemblage. As she experimented with new technologies of image production, she also reflected on how images are continually transformed as they are passed down through history. Incorporating aspects of old books and scientific treatises into her photographs, Parker explores both visual and verbal knowledge accumulates and changes over time.

RELATIONSHIP TO TRADITION
While Parker's early training an art historian and painter has long influenced much of her work, around 2010 she began to make photographs that directly engage with and transform the history of still life painting; particularly 17th-century Dutch and Spanish traditions. By seamlessly integrating a disparate variety of objects–some with historical referents and others clearly from our modern world–or by putting “still life” into motion, Parker offers a witty update to these enduring traditions. Her ongoing experiments with light, color, shadow, and focus imbue her photographs with a sense of the mutable and the surreal. They and also reflect on illusionism in both painting and photography, challenging our perceptions of reality.

PERSONAL JOURNEY
The exhibition concludes with Parker’s most recent series of photographs, detailing the devastating impact Alzheimer’s disease had on her late husband, John. With empathy, honesty, and creativity, Parker chronicled the progress of his illness by portraying his increasingly chaotic, perceptual, and emotional world. She began the series “Vanishing in Plain Sight” by recording evidence of the illness as it took hold–the office supplies that John kept accumulating or the notes that he wrote to remind himself of things, both important and mundane. As John’s disease progressed, Parker sought to understand and convey his increasingly unstable perceptual experiences. These photographs, which are infused with a sense of shimmering instability, are accompanied by Parker’s written observations. Though she had long manipulated light in various ways, for this series Parker began to move the camera during exposure to further convey a sense of mutability. John died in 2016, and she continues to work on this series, finding it fruitful terrain for the exploration of impermanence and transition, flux and change.

“As an artist, Parker is one of the most intensely curious and deeply intelligent people I have ever met. Her interest in the world–the natural world but also the world of ideas–is expansive and seemingly endless,” says Kennel. “I hope visitors to the exhibition feel inspired and delighted by the opportunity to step into by Parker’s distinctive, imaginative realm.”

-Kimsooja: Archive of Mind
June 22, 2019 = January 19, 2020

PEM Invites Visitors to Participate in a Meditative Sculptural Installation by World-Renowned Korean Artist

This summer, the Peabody Essex Museum (PEM) invites you to roll up your sleeves and participate in the North American premiere of Archive of Mind, a meditative sculptural installation by world-renowned Korean artist, Kimsooja. Archive of Mind transforms the simple, repetitive actions made by thousands of visitors into a monumental, texturally-complex sculpture. Sitting at a large work surface, Kimsooja encourages you to empty your mind of distraction and sink into the essentialized experience of forming a ball of clay with your hands. Over the course of the exhibition, thousands of clay spheres are generated, each revealing the emotional traces and individual signifiers of their makers. Kimsooja: Archive of Mind is on view at PEM from June 22, 2019 through January 19, 2020.

“There is a mesmerizing quality to the work as you watch it slowly build and see individual gestures accumulate into something large and powerful,” says PEM’s Curator of the Present Tense, Trevor Smith, who first saw Kimsooja’s Archive of Mind presented in Venice.

There is something in this work that reminds us of human potential and shows us the importance of slowing down and paying attention.

Kimsooja conceived Archive of Mind in 2016 as a conceptual and meditative practice. The repetitive act of rolling clay introduces a polarity between the forces of the participants' palms—transposing their state of mind into matter. Clay is elemental and Kimsooja sees clay as a container, one that holds water and is pliable but once it dries, the clay ends up storing, or containing, the energy its participants created.

“What is particularly exciting about this work is the universal creativity that everyone, regardless of their age or artistic ability, can express through humble materials,” says Smith. “This work is physically simple, yet overflowing with associations – from the microscopic perspective of atoms and molecules to the planetary and intergalactic; from the use of a material that has such deep associations with the earth to invoking immaterial practices of meditation. It has a calming and introspective effect on everyone who participates.”

ABOUT KIMSOOJA
Kimsooja was born in 1957 in Taegu, South Korea. She earned a BFA (1980) and MA (1984) from Hong-Ik University, Seoul. Her performances, videos, photography and installations use light, sound, and culturally specific materials to express how various cultures intricately overlap and coexist in society. She has developed many projects that explore the role of weaving in cultures worldwide. She has also drawn on the metaphor of the body as needle and as mirror of its environment to question our lives, world, and the major issues facing our world. Kimsooja’s videos and installations blur the boundaries between aesthetics and transcendent experience through their use of repetitive actions, meditative practices and serial forms. A well-known multidisciplinary conceptual artist, she uses a one-word name, Kimsooja, as it refuses gender identity, marital status, socio-political or cultural, and geographical identity by not separating the family name and the first name. Living and working in New York and Seoul, she has held countless solo exhibitions and has represented Korea at the Venice Biennale.

PRESENT TENSE INITIATIVE
Under the guidance of curator Trevor Smith, PEM’s Present Tense Initiative celebrates the central role that creative expression plays in shaping our world. The Present Tense Initiative engages leading creative agents and thinkers to cultivate innovative experiences fueled by the intersection of cultures, disciplines, and technologies. By encouraging innovation and fostering new forms of creativity, PEM seeks to push the boundaries of what a museum experience can be.

EXHIBITION CREDIT
Kimsooja: Archive of Mind was commissioned by the Peabody Essex Museum with the support of Axel Vervoordt Gallery. This exhibition is made possible by the Nancy B. Tieken Memorial Fund and supporters of the Present Tense Initiative, including The Jeffrey P. Beale Fund for Contemporary Art, and Susan and Appy Chandler. Carolyn and Peter S. Lynch and The Lynch Foundation, Jennifer and Andrew Borggaard, and Kate and Ford O’Neil provided generous support. We also recognize the generosity of the East India Marine Associates of the Peabody Essex Museum.

A Lasting Memento: John Thomson’s Photographs Along the River Min
June 1, 2019 - May 17, 2020

The Peabody Essex Museum (PEM) presents a voyage into 19th-century China through one of PEM’s photographic treasures, John Thomson’s rare album Foochow and the River Min. More than forty striking landscapes, city views, and portrait studies will be on view, captured by Thomson as he traveled in the Fujian province in Southeast China from 1870 to 1871. These prints are complemented by a selection of photographs by contemporary artist Luo Dan, who was inspired by Thomson to undertake his own journey in southwestern China in 2010. A Lasting Memento: John Thomson’s Photographs Along the River Min is on view at PEM from June 1, 2019 through May 17, 2020.

From 1870 to 1871, Scottish-born photographer John Thomson traveled 160 miles up the River Min to document the area in and around the city of Fuzhou (Foochow), one of the most picturesque regions in China. Thomson gathered eighty photographs from this voyage into an album titled Foochow and the River Min which was sold by advance subscription to the foreign residents of Fuzhou — tea planters, merchants, missionaries and government officials — who wanted a way to share their experiences with friends and family back home. Of the 46 copies originally published, fewer than 10 survive today and PEM is privileged to own two of them, both of which are featured in the exhibition.

“Many people have a conception of China as very industrialized and modern, even sterile, but these photographs complicate that notion and reveal the country’s incredible beauty and geographic diversity,” says Sarah Kennel, PEM’s Byrne Family Curator of Photography. “The roots of China’s rapid modernization go back to the 19th-century and are part of a larger history of maritime culture, trade, and globalization that are also entwined with PEM’s origin story. This exhibition affirms how photography can bring us back to another place in time and can change the way we see the world.”

Thomson was a renowned photographer, focusing on fine art, landscape, and architectural photos, and was often credited with being one of the first photographers to use pictures in conjunction with journalistic commentary. Foochow and the River Min is accompanied by introductory text, presenting a pictorial journey featuring the character of the growing city of Fuzhou, the beauty of the landscapes surrounding the River Min, as well as Thomson’s studies of the people he encountered there.

DOCUMENTING EASTERN CULTURE
Thomson is considered one of the first photographers to document East and South Asia. Born in Scotland, he learned photography while still in school, working as an apprentice to a maker of optical and scientific instruments. In 1862, he joined his older brother William, also a photographer and watchmaker, in Singapore, where they established a studio. Thomson spent the next several years photographing throughout Asia, including Cambodia, India, and Thailand. By 1866, he had joined the Royal Ethnological Society of London, was elected a Fellow member of the Royal Geographic Society, and styled himself as an expert on Eastern cultures. In 1868, he established a studio in Hong Kong, a burgeoning center of photography and trade. For the next four years, Thomson traveled and photographed throughout China before returning in 1872 to Britain, where he remained until his death in 1921.

The exhibition follows Thomson’s journey up the River Min, from the city of Fuzhou to Nanping. “Thomson’s extraordinary gifts as a photographer are evident in his compositions, including his famous view of the floating island pagoda,” says Kennel. “You can look at these as merely beautiful pictures, but if you unlock them a little bit they tell the story of an important moment of economic trade, cultural exchange, and political tension.”

Among the works on view are an extraordinary series on the Yuen Fu monastery, tucked high up a steep, rocky ravine. A strain of wistful romanticism is present, particularly in landscape photographs that incorporate a solitary figure.

In order to make his negatives, Thomson used the wet-collodion process. This required him to set up a large camera on a tripod and prepare the photographic plate on the spot by dipping it into light-sensitive chemicals in a makeshift darkroom, putting it in a plate holder and making the exposure within five minutes. He experimented with these processes while traveling by boat or ascending very steep hills and traversing rough terrain with a coterie of Chinese employees who not only hauled his equipment but also sometimes carried Thomson himself. Missionary and business colleagues helped facilitate introductions and provide access to unique locations so that Thomson could make his landscapes and portraits. The albums were printed using the carbon process, which imbues them with a rich, purplish tonality.
(Detail) Luo Dan, Simple Song No. 4 (Yang Du Lei and Her Sister Yang Hua Lin, WaWa Village), 2010. Inkjet print from collodion negative. © Luo Dan, Courtesy of M97 Gallery.

INSPIRED BY THOMSON
Contemporary Chinese photographer Luo Dan’s work focuses on the impact of modernization and globalization in China. Inspired by Thomson’s example, Luo traveled to the remote Nu River Valley in southwestern China, where he lived with and photographed the Lisu and Nu Christian ethnic minority communities for nearly two years, using the same hand-made wet-collodion process that Thomson had employed some 150 years earlier. Luo was especially interested in what he perceived as the villagers’ connection to local cultural traditions. A Lasting Memento features 10 works by Luo that reflect on and reverberate with the spirit and enterprise of Thomson’s 19th-century project.

EXHIBITION CREDIT
A Lasting Memento: John Thomson’s Photographs Along the River Min is organized by the Peabody Essex Museum. Carolyn and Peter S. Lynch and The Lynch Foundation, Jennifer and Andrew Borggaard, Kate and Ford O'Neil and the East India Marine Associates of the Peabody Essex Museum provided generous support.

A Passion for American Art: Selections from the Carolyn and Peter Lynch Collection
May 11 through December 1, 2019

The Peabody Essex Museum (PEM) presents the debut exhibition of an outstanding collection of American painting, furniture, and decorative arts that was assembled by philanthropists, Carolyn and Peter Lynch, over the course of fifty years. A Passion for American Art: Selections from the Carolyn and Peter Lynch Collection takes visitors on the personal collecting journey of a couple that shared an extraordinary life together. Through travel, exploration, and intellectual curiosity, the Lynches amassed a broad-ranging collection that includes spectacular, classic furniture from Boston, New York, and Philadelphia; paintings by Childe Hassam, Martin Johnson Heade, Winslow Homer, and John Singer Sargent; works by modern furniture master Sam Maloof; and pottery by Otto and Gertrud Natzler. Also featured are three significant works by Georgia O’Keeffe, Childe Hassam, and J.O.J. Frost that were recently donated to PEM by Peter Lynch in memory of his late wife, Carolyn Lynch. By embracing an organic approach to collecting and by freely integrating multiple subjects, time frames and media, the Lynches created lively conversations about artistic creativity, regional styles, and evolving traditions in America. A Passion for American Art is on view at PEM from May 11 through December 1, 2019.

This jewel-box exhibition celebrates the couple’s abiding love of nature and of American history through 120 works of decorative art, 36 pieces of furniture, 35 paintings and sculptures, and 10 Native American artworks. The majority of the works are pristine examples of American creativity from the 18th and 19th centuries – an era when many artists echoed the latest styles and forms from Europe while also striving to express new American ideals, beliefs, and regional tastes. The exhibition and the accompanying exhibition catalog, A Passion for American Art, reflect how the couple integrated works of various periods and styles into their unique living spaces.

“In so many ways, this remarkable collection speaks to the personal and singular collecting journey that the couple shared for nearly a half a century, exploring and embracing many aspects of American artistic creativity,” said Dean Lahikainen, PEM’s Carolyn and Peter Lynch Curator of American Decorative Art.

STARTING SMALL
Peter was raised outside of Boston and Carolyn was from Pennsylvania, both grew up surrounded by history. Upon buying their first house together in Marblehead, the newly married couple discovered that antique furniture often cost less than buying new. Soon, they also began collecting blue and white export porcelain as well. Peter bought Carolyn an antique rocking cradle for her first Mother’s Day, after the eldest of their three daughters was born. Their penchant for acquiring art only continued to grow and they were active in the groundswell of collecting American art that followed the United States Bicentennial in 1976. The Lynches fell deeply in love with old Marblehead and embraced its rich history, most notably by collecting Marblehead Pottery and the work of local folk artist J.O. J. Frost.

From the beginning, the couple collected and displayed artwork according to their tastes, rather than by strict rules. Eventually, different subjects, time periods, and media freely mixed in their Marblehead, Boston, and Arizona houses. Collecting offered the couple a way to strengthen their personal connection to place.
View of East Room, Peter Lynch Marblehead Neck House. © Peabody Essex Museum. Photography by Kathy Tarantola.

Later, the Lynches bought a home on the coast of Marblehead Neck, the 1938 Howard A. Colby House, one of the few International Style houses designed by the famed Boston architect Royal Barry Wills. This home would be filled with the impressive American seascapes that reflected their view. While the Lynches never developed strict rules for collecting or displaying their collection, in Marblehead Neck they transformed the entire interior of the house, creating six “period rooms” for the collection, using 18th-century woodwork, period hardware, and old wide-board flooring supplied by architectural salvage companies.

With an eye toward retirement, the Lynches embarked on their last major home project in 2001, when they purchased land in the Arizona desert. Working with architect Jeff Biever, they designed a main house and several smaller structures in a contemporary Spanish Mission style. Turning to their good friend Sam Maloof to design furniture for the principal rooms, the Lynches also embraced new generations of American artists – including Native American artists, who expanded the scope and meaning of what constitutes American art.

Lonnie Vigil, Nanbe Owingeh [Nambé O-ween-gé or Nambé Pueblo], Storage Jar, 2002. Micaceous ceramic. © 2018 Peabody Essex Museum. Photo by Claire A. Warden.

"This exhibition allows us to marvel not only at the range of American traditions and creativity but also appreciate how collecting can amplify a sense of place and express aesthetic and intellectual values,” says Lahikainen.

PHILANTHROPISTS AND ART LOVERS
Best known for heading Fidelity’s Magellan Fund, the best performing mutual fund in the world, Peter Lynch is also a major philanthropist. Together, the couple established the Lynch Foundation in 1988 to support nonprofit organizations in the greater Boston community. For many years, Carolyn served as a PEM Trustee and Overseer and helped found the museum’s American Decorative Arts Committee. In 2014, the Lynch Foundation generously created an endowment for the PEM’s robust changing exhibition program.

A Passion for American Art features three works gifted to PEM’s American art collection by Peter Lynch in memory of his late wife. These include Marblehead folk artist J.O.J. Frost, American Impressionist painter Childe Hassam, and American master Georgia O’Keeffe. PEM has presented solo exhibitions in recent years of both Hassam and O’Keeffe’s works.

J.O.J. Frost, The March into Boston from Marblehead, April 16, 1861: There Shall be No More War, about 1925. Oil on fiberboard. Peabody Essex Museum, Gift of Peter S. Lynch in memory of Carolyn A. Lynch. Photography by Kathy Tarantola/Peabody Essex Museum.

Frost’s 1925 panoramic masterwork, an oil on fireboard painting, called The March into Boston from Marblehead, April 16, 1861: There Shall Be No More War, is of exceptional quality and scale. The local and national histories referenced in the painting, coupled with the highly-detailed, large-scale panoramic narrative scene, has broad appeal. The painting is poignantly autobiographical, capturing Frost’s childhood memory of watching his father alongside other Marblehead men depart on foot to Faneuil Hall in Boston to enlist in the Civil War.

A key loan in PEM’s 2016 exhibition, American Impressionist: Childe Hassam and the Isles of Shoals, Hassam’s 1911 painting East Headland, Appledore, Isles of Shoals is a masterpiece within Hassam’s Appledore oeuvre. East Headland is the first major American impressionist picture, and the first Hassam, to enter PEM’s collection. The work also holds special significance to the Lynch family as Peter took Carolyn to Appledore as a birthday surprise to see the island and the site depicted in this painting.

In Cedar and Red Maple, Lake George, 1921, O’Keeffe’s treatment of natural forms and unconventional contours resulted in a modernist painting that abstracts, combines, and layers the landscape in ways that – at the time – were unprecedented in American art. This painting would have been a perfect addition to PEM’s 2018 blockbuster exhibition, Georgia O’Keeffe: Art, Image, Style. The small but vivid canvas is characteristic of her aesthetic responses to the Lake George landscape, and was formerly in MoMA’s collection. This gift dramatically bolsters PEM’s expanding and diversifying collection of works by women and by modern artists.

PUBLIC EVENT
Opening Day Celebration on Saturday, May 11 | 10 am–5 pm
Join us for art making, conversations with curators and more.

EXHIBITION CREDIT
Media Partners: The Boston Globe and WBUR

EXHIBITION CATALOG
Published by the Peabody Essex Museum, the major 224-page publication, A Passion for American Art: Selections from the Carolyn and Peter Lynch Collection, celebrates the outstanding examples of American painting, furniture and decorative arts and Native American art from the Carolyn and Peter Lynch collection. This luxuriously illustrated book traces the couple's growth as collectors, their cultural and aesthetic affinities and their relationships with artists and fellow collectors. Writer Jeanne Schinto offers a profile of the Lynches and a view into how the collection expresses the couple's distinctly American sensibility. PEM’s Carolyn and Peter Lynch Curator of American Decorative Art, Dean Lahikainen, shares an introduction to the collection and a series of short essays exploring how the Lynches combined diverse works in the living spaces of their homes.

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