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| Posted on Tuesday, December 02 @ 00:00:55 PST |
The Delaware Art Museum’s winter 2025 studio art class registration is now open
By Steven Brodsky
… Classes for a wide range of subjects have been scheduled.
Visit Classes – Delaware Art Museum for information.
Posted 12-1-25
Visitors to the Brandywine Museum of Art’s ‘Holidays at Brandywine’ displays will experience joy and wonder; ‘Holidays at Brandywine’ to open at the Museum on November 15, 2025
By Steven Brodsky
This news release was issued by the Brandywine Museum of Art:
Chadds Ford, PA, October 28, 2025 — The holiday season is set to kick off early at the Brandywine Museum of Art with the return of the Brandywine Railroad model train display, plus a new exhibition featuring a selection of miniature dollhouse displays and original artworks that were created as designs for holiday greeting cards. Both exhibitions will be on view daily beginning November 15, 2025 through January 4, 2026. The Museum’s atrium will also be decked out with towering trees adorned with Brandywine’s signature, handmade “Critter” ornaments, and a variety of holiday events and programs for the whole family will be offered throughout the season.
Since its debut in 1972, the Brandywine Railroad’s iconic O-gauge model train display has captivated generations of Museum visitors.
The expansive display features trains running on 2,000 feet of track and includes more than 1,000 pieces, such as locomotives, passenger and freight trains, and trolleys that pass through a small village, a farm, factories, a drive-in movie theater and even a carnival. A dazzling array of both toy and scale model trains can be seen chugging through the varied scenery, including those made by Lionel, Williams, Atlas, Mike’s Train House, K-line and others. Interactive components are incorporated throughout the display, operated by buttons and foot pedals that allow for further visitor engagement.
New this year, visitors can also enjoy Home for the Holidays: Cards and Hearths from the Collection, a special exhibition featuring a selection of Brandywine’s dollhouses, including two rooms from a nine-foot dollhouse designed by Ann Wyeth McCoy and built by her husband, artist John McCoy. Filled with handmade furnishings and miniature paintings contributed by Wyeth McCoy’s famously artistic siblings and in-laws, these dollhouse rooms were a communal, family endeavor that paid tribute to the Wyeth’s close-knit holiday gatherings. These two rooms will be accompanied by the debut of the Peters-Herdeg dollhouse, a detailed replica of an eighteenth-century Brandywine Valley house and a recent addition to the Museum’s collection.
Home for the Holidays will also feature original artworks that were created as designs for holiday cards by members of the Wyeth family of artists, as well as those by other prominent American illustrators, all drawn from the collections of the Brandywine Museum of Art and the Wyeth Foundation for American Art.
Adding to the festivities, the Brandywine’s annual Holiday Critter Sale will return to the Museum starting November 20–23, 2025, with a member preview sale on November 19. Each year since 1971, these distinctive ornaments have been carefully handcrafted by a dedicated group of Brandywine volunteers using only natural materials such as teasel, pinecones, acorns, eggshells, flowers and seed pods. Thousands of “classic Critter” favorites and fanciful new creations will be available for purchase during the annual sale, including a new limited-edition series of Critters inspired by Philadelphia’s favorite sports teams. This year’s sale will be held in person in the Museum’s Waterview Room on the second floor. Beginning November 24, the remaining inventory of Critters will be available for purchase in the Museum Shop. All proceeds benefit the Museum’s Art Education & Public Programming.
A smaller selection of Critter ornaments is also available for purchase online and can be shipped across the country by visiting www.brandywine.org/critters.
In addition to the holiday offerings, visitors to the Brandywine can also experience two other special exhibitions on view, including Jerrell Gibbs: No Solace in the Shade and Cropsey, Wyeth, and the American Landscape Tradition. On view through March 1, 2026, No Solace in the Shade surveys the first decade of contemporary Baltimore artist Jerrell Gibbs’s (b. 1988) career and marks his first one-person Museum exhibition. Gibbs’s dynamic, large-scale figurative paintings of family, friends, and community focus on everyday scenes of Black life, transforming them into monumental moments the highlight the universal themes of identity, reflection and belonging. Cropsey, Wyeth, and the American Landscape Tradition, on view through May 31, 2026, features the world-wide museum debut of a rediscovered masterpiece not seen in the United States since it was painted over 150 years ago. The painting, Autumn in the Ramapo Valley, Erie Railway, is a monumental masterwork by Jasper Francis Cropsey (1823–1900), one of the luminaries of the Hudson River School of artists.
In addition to this work, the exhibition features a focused appraisal of the complex art of American landscape painting with works by a variety of artists from the Museum’s collection, including Alfred Thompson Bricher, Albert Bierstadt, William Trost Richards, and Martin Johnson Heade to George Bellows, N.C. Wyeth, and Andrew Wyeth–including watercolors and temperas by Andrew Wyeth that have never been exhibited before.
Beginning November 15, 2025 through January 4, 2026, the Museum will be open seven days a week throughout the holiday season, from 9:30 a.m. to 5 p.m. (closed Thanksgiving & Christmas Day, and closing early on Christmas Eve at 1 p.m.). Between December 26–30, the Museum will be open later for extended holiday hours from 9:30 a.m.–6 p.m.
Special holiday events and activities throughout the season include:
Sensory-Friendly Access Hours: Brandywine Railroad
November 20 & January 2, 5–7 p.m.
After-hours access to the Brandywine Railroad for individuals on the autism spectrum or with sensory processing disorder and their families.
Breakfast with the Trains
November 23, December 20, January 3, 8:30–10 a.m.
Enjoy early access to the Brandywine Railroad before the Museum opens, plus a continental breakfast in the Millstone Café.
Holiday Critter Sale
November 20–23, 9:30 a.m.–5 p.m. (Member preview sale on November 19)
Browse and shop from thousands of unique, handcrafted ornaments made from all-natural materials by the Brandywine’s dedicated and talented volunteers.
The Polar Express Read-Aloud Pajama Night
December 3 & 19, 6:30–8 p.m.
Children are invited to wear their pajamas as they delight in the tale of The Polar Express and enjoy hot chocolate, cookies, and exclusive access to the Brandywine Railroad.
Children’s Holiday Party
December 10, 5:30–7:30 p.m.
Visit with Santa and enjoy entertainment, costumed characters, model trains, trees adorned with Critters and tasty treats in the Museum’s Millstone Cafe.
Additional events can be found at www.brandywine.org/events. Support for the Brandywine Railroad holiday train display is provided by The Davenport Family Foundation Fund for Exhibitions, Chase, Herr Foods, and bequest of Joe Bauer.
About the Brandywine Museum of Art:
The Brandywine Museum of Art features an outstanding collection of American art housed in a 19th-century Mill building with a dramatic steel and glass addition overlooking the banks of the Brandywine Creek. The Museum is located on Route 1 in Chadds Ford, PA.
Current admission rates and hours of operation can be found at www.brandywine.org/hours. Guided tours of the Andrew Wyeth Studio, N. C. Wyeth House & Studio and the Kuerner Farm—all National Historic Landmarks—are available seasonally (for an additional fee); advance reservations are recommended. For more information, call 610.388.2700 or visit brandywine.org/museum. The Museum is one of the two programs of the Brandywine Conservancy & Museum of Art.
About the Brandywine Conservancy & Museum of Art:
The Brandywine Conservancy & Museum of Art preserves and promotes the natural and cultural connections between the area’s beautiful landscape, historic sites and important artists. The Conservancy protects the lands and waters throughout the Brandywine Valley and other priority conservation areas, developing sustainable approaches to emerging needs and assuring preservation of majestic open spaces and protection of natural resources for generations to come. The Museum of Art presents and collects historic and contemporary works of American art, engaging and exciting visitors of all ages through an array of exhibitions and programs. The Brandywine unites the inspiring experiences of art and nature, enhancing the quality of life in its community and among its diverse audiences.
Posted 10-28-25
The Brandywine Museum of Art’s Walter & Leonore Annenberg Research Center has announced the public launch of the N.C. Wyeth Correspondence Collection of Betsy James Wyeth
By Steven Brodsky
From a Brandywine Museum of Art news release:
Chadds Ford, PA, October 22, 2025 — In celebration of National Archives Month, the Brandywine Museum of Art’s Walter & Leonore Annenberg Research Center is proud to announce the public launch of the N.C. Wyeth Correspondence Collection of Betsy James Wyeth. Never fully inventoried and publicized until now, this collection is comprised of original letters and photographs created by N.C. and archived by his daughter-in law Betsy as part of her work towards the 1971 publication of The Wyeths: The Letters of N.C. Wyeth, 1901-1945. The finding aid for the first installment of this collection, encompassing the years of 1881–1907, is now published on the Research Center’s online database, ArchivesSpace, allowing researchers to discover these unique materials from the prolific artist’s life.
The full collection contains both personal and business correspondence written to and by N.C. Wyeth. The personal correspondence primarily consists of letters written to his mother, Henriette Zirngiebel Wyeth, up until her death in 1925.
These letters read like a private diary, not just in terms of their frequency, but also in the level of detail of daily life and the confessional nature of his innermost thoughts and emotions. Letters to his brothers, and later, letters to his children, often read in a philosophical tone, where N.C. expounds at length on his personal views of the world and advice on how to better their lives and careers. These narratives not only provide a detailed look at this monumental artist’s career and daily life, but they also show the mental and personal struggles of a man who often felt conflicted by his professional identity and legacy.
“This collection is incredibly important, not only in documenting N.C. Wyeth’s life and art, but also in how it documents the lives of his children,” said Lillian Kinney, Manager of the Brandywine’s Walter & Leonore Annenberg Research Center. “Major events, both in early twentieth-century American and world history, are also documented with first-person experience and observation, such as presidential inaugurations, both World Wars, the Spanish flu epidemic, polio, the Great Depression, and many technological advancements,” she added.
Besides manuscripts, additional items and artifacts can be found within the collection, such as the doctor’s bill for N.
C.’s birth, a notarized copy of his death certificate, and the comb (with hair remnants) left on his dresser on the day of his death, preserved in an envelope. The most prominent non-manuscript items though are photographs. Dispersed throughout the volumes of the collection by Betsy, these photographs provide visual context for certain people, places, and subjects discussed within N.C.’s letters. A large majority of the photographs were taken by N.C. himself, such as those from his trips “out West” and of his wife and children, proving his skill at another art form.
Due to the incredible number of materials in this collection, the Research Center’s inventory will be published in installments, with future additions made to its online database as the work progresses. The first portion of this finding aid alone contains records for approximately 575 letters and 570 photographs that span N.C.’s childhood and early career as a young adult. These records can be viewed by visiting the “Archives and Special Collections” section of the Research Center’s website at www.brandywine.org/research-center. The finding aid for the first installment of the collection can also be accessed directly at bit.
ly/ncw-correspondence. Researchers can make an appointment to view the collection in person by filling out an appointment scheduling form through Brandywine’s Research Center website or by contacting the Research Center Manager at research@brandywine.org.
Posted 10-28-25
‘Jerrell Gibbs: No Solace in the Shade,’ the first solo museum exhibition of paintings by Jerrell Gibbs, to be on view at the Brandywine Museum of Art, September 28, 2025–March 1, 2026
By Steven Brodsky
From a Brandywine Museum of Art news release:
Chadds Ford, PA, August 5, 2025 — Opening at the Brandywine Museum of Art this fall, Jerrell Gibbs: No Solace in the Shade will survey the first decade of the career of Baltimore artist Jerrell Gibbs (b. 1988). His dynamic, large-scale figurative paintings of family, friends and community focus on everyday scenes of Black life, transforming them into monumental moments that highlight the universal themes of identity, reflection and belonging. Organized by the Brandywine, this project will mark the artist’s first solo museum exhibition and first monographic publication—and is also the Museum’s first solo presentation of an emerging contemporary artist. The exhibition will feature more than 30 paintings drawn from both museum and private collections throughout the United States and Europe, and it will be on view at the Brandywine from September 28, 2025, through March 1, 2026.
Across Gibbs’s career, he has challenged the near invisibility of Black life in American art. He does so by celebrating his culture with profound compassion and insight, often weaving in narratives and images from his own upbringing. Several paintings in the exhibition represent people from the artist’s own life while others are drawn from old family photographs or feature anonymous figures found in old scrapbooks. For example, in Boy meets girl (2023), Gibbs shows both his interpretation of the found image and the plastic binding of its scrapbook setting. In his creative process, Gibbs explores questions of identity and the passage of time. He also conveys the joy and liveliness of Black life and contemplates it through positive representations in works such as The Electric Slide (2024), depicting a backyard dance party. Shifting away from menacing racial stereotypes often present in other artists’ earlier depictions of Black life—particularly images of Black men—Gibbs instead surrounds his subjects with beauty, whether it be flowering trees or lushly patterned interiors. The Black men he depicts are in repose, lost in thought, holding a bundle of flowers or planting them, as in Man with Lilacs (2021), or simply enjoying the company of family and friends.
Through Gibbs’s brush, Black people are living, not just surviving.
“We are thrilled to be organizing Jerrell’s first solo museum exhibition, which has been several years in the making at Brandywine,” said Thomas Padon, the James H. Duff Director of the Brandywine Museum of Art. “Jerrell is a painter of astonishing creativity and a storyteller who crafts a world of timeless themes. His vigorous, dazzling brushwork is paired with highly personal imagery evoking contentment and joy, where ordinary moments become elemental. His work also extends and expands on, in an exciting way, the figurative tradition that is so well represented in the Brandywine’s collection, which has grown over the years to include important works by contemporary artists—including a recent acquisition of a major painting by Gibbs that will be in the exhibition.”
This exhibition is guest curated by Angela N. Carroll, a writer, art historian and professor based in Baltimore. “Anyone who experiences Jerrell’s work, virtually or in person, is moved by what they encounter,” said Carroll. “No Solace in the Shade celebrates the power of human connection, the quiet dignity of everyday life, and the beauty of family.
This important survey of Gibbs’s iconic métier is an outstanding opportunity for audiences to experience his works. The presentation at the Brandywine also places him firmly in the long tradition of American figurative painters.”
Jerrell Gibbs: No Solace in the Shade is accompanied by a fully illustrated catalogue co-published by Rizzoli Electa and the Brandywine. The first monographic treatment of Gibbs’s work, this major publication features an essay by Carroll; a timely conversation between Gibbs and Jessica Bell Brown, Executive Director at the Institute for Contemporary Art at Virginia Commonwealth University, about his process, style and technique; a discussion between Gibbs and Larry Ossei-Mensah, a curator and cultural critic, about cultural references and inspirations; a long-form lyrical poem in response to the artist’s “The Notes Series: Salvador Portraits” by filmmaker and poet NIA JUNE; and a photographic documentation of Gibbs’s artistic process by Washington, D.C.–based photographer Kelvin Bulluck.
Major support for Jerrell Gibbs: No Solace in the Shade is provided by The Pew Center for Arts & Heritage.
www.brandywine.org/museum/exhibitions/jerrell-gibbs
Posted 8-7-25
Expanded use of the Barnes Foundation’s online learning platform, The Visual Experience Platform (VXP), to take place as a result of a new partnership of the Barnes with the Penn Museum
By Steven Brodsky
From a Barnes Foundation news release:
Philadelphia, PA, July 23, 2025—The Barnes Foundation has announced the expanded use of its innovative online learning technology, the Visual Experience Platform (VXP), through a new partnership with the Penn Museum.
Beginning in fall 2025, the Penn Museum will host its popular Deep Dig classes and virtual lecture series, Archaeology in Action, on the VXP.
The VXP is a first-of-its-kind online learning platform developed by the Barnes specifically for the teaching of visual material. Intended for adult learners and K–12 students alike, the VXP breaks from the static screenshare model, allowing students to interact with the digital image by zooming in on works of art—investigating details that are often not visible in person. With the VXP’s deep zoom technology, the work of art is no longer a static image on a slide; it is a dynamic field waiting to be investigated. The “explore” feature allows students to interact with the work of art independently, moving around the digital image, zooming in on details, and focusing on whatever sparks their interest.
Offering 360-degree views of galleries, synchronous and asynchronous delivery modes, and a searchable library of completed classes, the VXP affords students and teachers greater flexibility and more control over their learning experience. The Barnes first began hosting its popular online classes on the platform in January 2023. Between January 2023 and June 2025, the Barnes enrolled nearly 4,600 students in over 110 online classes hosted on the VXP, with 14% of students receiving scholarships.
According to our post-course surveys, 76% of students reported that the class was highly or extremely impactful on “the ways they look at art,” and 91% of students reported that the class “inspired them to continue their learning.”
In addition to the Barnes’s own classes, the VXP is designed to host other cultural and educational institutions’ courses, lectures, and asynchronous content. The Penn Museum will be the first to license this innovative technology, with its classes and lecture series launching in October and November, respectively. Through the partnership, Barnes members will receive $50 off tuition for the Penn Museum’s Deep Dig classes, while Penn Museum members will enjoy the same discount for the Barnes’s online classes.
“The Barnes has been teaching about art for more than 100 years, and when we shifted our classes online in 2020 in response to the pandemic, we realized that if we were truly going to deliver a meaningful educational experience about art—or indeed any visual media—we needed a platform designed specifically for its study,” says Thom Collins, Neubauer Family Executive Director and President of the Barnes. “The VXP is the first platform to offer a truly interactive experience in the online study of art and visual media.
It doesn’t attempt to replace the in-person experience; rather, it enhances that experience, using technology to explore art and visual media in a way that simply cannot be done in person. We are delighted to expand the VXP’s use through this new partnership with our colleagues at the Penn Museum, which will allow more students to learn online using our immersive platform.”
“The Penn Museum is thrilled to partner with another renowned cultural and educational institution like the Barnes to offer our Deep Dig classes and Archaeology in Action lectures on their innovative VXP platform,” says Christopher Woods, Williams Director of the Penn Museum. “Optimizing the online learning experience for our audiences strengthens our mission to amplify stories of our shared humanity and make archaeology and anthropology accessible to all.”
The VXP was inspired, in large part, by the progressive-era philosopher John Dewey, who played an important role in the development of the Barnes Foundation during the 1920s. “Dewey argued that the most meaningful learning happens when students participate actively in the process,” says Martha Lucy, deputy director for research, interpretation, and education at the Barnes.
“He and Dr. Albert Barnes both believed that a work of art is something to be experienced and discovered by the individual learner—not something that you just passively receive information about. This is why the VXP is so exciting: it allows users to explore the work of art independently and get right up close to its surface—to do the kind of close looking and critical thinking that was so important to Dr. Barnes.”
The Barnes uses the VXP for its live and on-demand online classes for adults and K–12 students and many educational programs for Barnes members and the public. In January, the Barnes launched its first on-demand classes for adults. Recorded on the VXP, each class, which consists of about five 10-minute-long videos, allows students to pan the surface of the artwork and interact with the digital image in a way that is not possible when viewing a typical video. The Barnes also recently launched a suite of new interactive, multilingual educational videos for students in grades 2–10. Recorded in the Barnes galleries on the VXP, each video connects a topic and a curriculum content area to the collection. Free to access, these videos are used to support in-class lessons or at-home learning, with topics including pigments and process (grades 5–8), illustrations (grades 2–4), and Spanish and French language learning (grades 7–10), all with corresponding worksheets.
Additionally, the Barnes released an art integration lesson for teachers who want to learn how to use artworks to support learning in the classroom for other curriculum areas.
“Our goals with online learning have always been to expand our educational service, to grow new and diverse audiences, and to build new streams of sustainable revenue,” adds Will Cary, chief operating officer of the Barnes. “There is nothing else quite like the VXP on the market—a platform designed specifically for the teaching of visual material—and we are thrilled to begin licensing this pioneering software so other organizations can achieve these goals as well during this critical moment for the field.”
Posted 7-23-25
A Conversation With Victoria Browning Wyeth
By Steven Brodsky
Victoria Browning Wyeth is the granddaughter of Andrew Wyeth and the niece of Jamie Wyeth. She is the great-granddaughter of N.C. Wyeth. Victoria is widely known for her dynamic gallery talks and lectures on the life and art of Andrew Wyeth. Victoria is a gifted photographer; her photos have been exhibited at a number of museums.
What are some of your fondest memories of your grandmother?
One of my fondest memories of my grandmother were our nicknames for each other.
I always called my grandmother by two names: “Betsy” or “Mamma Sheep Turd.” I realize the second name might raise a few eyebrows so let me explain. I grew up in New York City, but would spend every summer in Cushing Maine with my grandparents. As a young girl, and as a grown woman, I have always detested sand, dirt and bugs. When I was about nine or so, my grandparents purchased Allen Island (near Port Clyde, Maine), and, in addition, a very large flock of sheep to help with the lawn “maintenance. Along with the sheep came sheep turds…. EVERYWHERE. So, she called me “City Slicker” and I called her “Mamma Sheep Turd.” When I was in college and we wrote each other letters, the post office at my college would giggle when they handed me a letter because of the return address. I always smile when I think of the looks people gave us when we used these names for each other.
My second fondest memory was when she taught me to put on makeup and put my hair in a French twist. I can still feel her hands in my hair helping me pin it up. When it came to applying makeup she would always say, “Vic… less is more.” To this day I am not much of a makeup person.
Finally, my most recent favorite memory involved cooking for my grandmother (and my uncle Jamie) on Sunday nights.
Betsy was the chef in the family – her meals were simply out of this world yummy. Mashed potatoes, cookies, creamed eggs, popovers, etc. You name it and she could make it. After my grandfather died she scaled back her cooking quite a bit. Around six or seven years ago I started cooking Sunday dinners for my family. I wasn’t the best chef at first; I burned fish more than I would like to admit. One of the things that still brings a smile to my face was watching her gobble up every last morsel. She would look at Jamie and me and say, “mmmmm this is good.”
Betsy handled much of the business affairs of her husband Andrew. What prepared her for this?
She always had such a powerful business sense. I’m not quite sure where this came from, but she handled Andy’s business affairs with such grace and intelligence. She was quite the inspiration.
Please describe how Betsy furthered the career of Andrew?
My grandmother helped further his career by supporting him in numerous ways. The most important was through her love: she loved him with all of her heart. She would always tell him what she thought of his newest painting – if he needed to simplify something, if the color was too intense, etc.
She was also very instrumental in titling many of his paintings.
What was the extent of Betsy’s involvement in titling the paintings of her husband?
She had a huge role in the titles. Take the painting Wind from the Sea. When my grandparents were discussing the piece Betsy said, “It looks like a wind is coming in from the sea.” Andy replied, “That’s it!! Wind from the Sea.” Her vocabulary was most impressive. For example, she would do the New York Times crossword puzzles in ink. This gave her an incredible bank of words to choose from when she helped to title the work.
Her ability to title wasn’t limited to paintings: when I was in graduate school and writing long research papers, I would call her and tell her my paper topic. She would then call me back with a title. For example, I wrote a paper on shell shock in British troops during World War I. She came up with the title “Over the Top.”
Were you able to observe Andrew while he was painting? If you were, did he discuss what he was working on?
Andy HATED having people watch him paint. He felt that having you watch him paint was an invasion. The only times I watched him paint were: (1) outside my window in the summer.
He would work on watercolors or drawings outside my parent’s house in Cushing, Maine. He didn’t know I was looking, but I was. I couldn’t help myself. This is when I was a young girl (under 13). (2) When I would accidentally walk into the house when he was working on something. I would apologize and he would smile and say, “Hi darlin’. I’m just finishing up.” (3) When I posed. This was my favorite because we got to discuss everything. I would barrage him with all sorts of questions about his work, his life, his friends, etc. The last time I posed (back in 2005) I was giving lectures at the Brandywine River Museum. It was so cool because I would incorporate what we talked about into my gallery talk that day.
How sensitive was Andrew to what critics wrote about him?
He couldn’t have cared less what the critics thought.
Which paintings of his do you believe he remained most attached to?
He was almost always most attached to the painting that he was working on.
To your knowledge, were there times in Andrew’s life when he was without artistic inspiration? If there were, how did he reacquire inspiration?
To the best of my knowledge this never happened. Even when he was in the hospital (for a hip replacement) he drew his hospital room and the view out the window.
He was inspired by everything and everyone.
Of the photos that you took of Andrew Wyeth, is there one that especially evokes cherished memories? Can you share those memories with us?
The one I took of him painting outside my window in Cushing, Maine. He was painting me and we would start working very early in the morning – 6:45 a.m. I overslept one morning and rushed downstairs. As I looked out of the living room window, I found him sitting out there with his watercolor pad on his lap, tissues everywhere (to blot the paper) and his watercolor box by his side. Whenever I get sad and miss him, this is what I think of and it always makes me smile.
You’ve given many pro bono talks. Which of those talks have been most gratifying to you? Please tell us why.
My favorite talks, pro bono and paid, have been the ones I have done at the state and local prisons. I feel that those who are incarcerated should be exposed to art as much as possible. Since they can’t go to a museum, I bring a museum to them. For example, this past January I lectured on the work of my grandfather to the gentlemen at the Maine State Prison in Maine. I went on January 16th – which is a very special day for me – the anniversary of my grandfather’s death.
It was a beautiful snowy day and I packed my car up with a bunch of my uncle’s and grandfather’s watercolors and drawings and headed to the prison. I thought it would be fun to create a pop-up gallery in the prison and even more interesting to bring one of my grandfather’s models with me. It was a very special day for all of us. I will never forget looking at the reactions on the guys faces as they looked at the art.
The Brandywine River Museum of Art is currently closed to the public (as are other museums) because of the COVID-19 crisis. Is there a painting in the Museum’s collection by Andrew Wyeth that, at this moment, you are especially looking forward to seeing when the doors reopen?
I love seeing my grandmother’s portrait – Maga’s Daughter. I’m very excited to go visit her and say hi.
Posted 6-8-20
Post expires at 8:24pm on Monday December 8th, 2025
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