Small-Town Motion Pictures: The Jay S. Hoar Collection of 1930s Movie Posters

Featuring twenty 1930s window card posters from the “Golden Age” of Hollywood films, this exhibit recognizes the generous donation of the collection by Jay S. Hoar, a Rangeley, Maine, native who taught for nearly 33 years in the English Department of the University of Maine at Farmington.  Professor Hoar grew up in the life of the small-town theater, beginning at the age of five by tipping up all the seats mornings after for a nickel.  As soon as he learned how to pop corn and make change, he for several seasons sold refreshments.  Ushering, taking tickets, and sweeping the hall served also to give him an intimate knowledge of his subject, as well as the means to attend college.

On view in the Valentine Gallery June 29 through December 31, 2017.

John J. Enneking’s “Colonial Kitchen”

Robinson House:

Thanks to the generous support of members and friends, the Museums of the Bethel Historical Society have acquired an important painting by the renowned American artist John Joseph Enneking (1841-1916).  A frequent guest at the Locke Mountain House in North Bethel, Enneking eventually established a summer studio on the Branch Road in the adjacent town of Newry.

A man ahead of his time, John J. Enneking had a stylistic foot in both the pre-impressionist and impressionist worlds of the late nineteenth century. He knew Edouard Manet (1824-1898), and studied with the great French Barbizon teacher Charles-Francois Daubigny (1817-1878), as well as with Eugene Boudin (1824-1898). Enneking moved his young family to Europe in 1872 to pursue a career in the arts, which would prove both financially and critically successful. His study trips to Europe, all financed through the sale of his paintings, took him to the Munich Royal Academy for six months, and to the Paris studio of Leon Bonnat for three years. Travels to England, Austria, Italy, and Holland exposed him to nearly every major stylistic force during this time of radical experimentation. Enneking was not a copyist, however, but perfected his own style to such an extent that those conversant with his technique can identify his works without hesitation. One collector has written, “He loved Autumn with her glorious auburn tresses, and he loved Twilight, from her flaming sunsets, to her tenderest afterglows, for his keen senses thrilled with love of color… equally delightful are his groups of Trout Brooks, Pastorals in Blossom Time, and Mountain Views.”

Enneking’s success as an artist was foretold early-on when Williams and Everett mounted his first solo exhibition in 1878, sold every work, and netted the artist $5,000. He then began to exhibit widely at prominent venues throughout the United States, including the National Academy of Design, the Pennsylvania Academy of the Fine Arts, the Art Institute of Chicago, the Corcoran Gallery, the Boston Art Club, Vose Galleries, and the Panama-Pacific Exposition of 1915, where he won the prestigious gold medal. He was included in the Paris Exposition of 1900, and in a group show in 1883 with Childe Hassam (1859-1935), Willard Metcalf (1858-1925) and Theodore Robinson (1852-1896).

On view in the Theater Gallery beginning July 1, 2017.

The Mountains of Maine: Skiing in the Pine Tree State

Robinson House (through spring 2018):

Created by the New England Ski Museum and recently transferred to Ski Museum of Maine ownership in memory of John Christie–legendary ski racer, former general manager of Sugarloaf, and member of the Maine Ski Hall of Fame–this exhibition features some 60 photographs and artwork with text and captions drawn from the collections of the NESM, with considerable assistance provided by the Ski Museum of Maine.

In the annals of New England skiing, the State of Maine was both a leader and a laggard. The first historical reference to the use of skis in the region dates back to 1871 in New Sweden, where a colony of Swedish immigrants had been induced to settle in the untamed reaches of northern Aroostook County. The first booklet to offer instruction in skiing to appear in the United States was printed in 1905 by the Theo A. Johnsen Company of Portland. Despite these early glimmers of skiing awareness, when the sport began its ascendancy to popularity in the 1930s, the state’s likeliest venues were more distant, and public land ownership less widespread than was the case in the neighboring states of New Hampshire and Vermont, and ski area development in those states was consequently greater. Only in the 1950s did the construction of alpine ski sites become commonplace in Maine, many of them conceived as economic development initiatives. From 1950 until the mid-1970s ski areas sprouted all over the state, until ski area creation slowed nationwide. Maine’s relatively late start allowed its ski area builders to benefit from the expertise of ski resort planners like Sel Hannah and the Sno-engineering firm, and permitted its state government to enact environmental legislation before overdevelopment marked the landscape as it had elsewhere. Numbered among Maine’s distinctive impacts on skiing are far-ranging Nordic marathons; inventions and improvements in snow grooming tractors and implements; a unique university program that trained students for varied careers in the ski business; and the organizational and financial know-how one ski area owner employed to create an assemblage of ski areas on a national scale.

Members: FREE   Non-members: Donation

Hooked Rugs: Art, Craft, and Design

Robinson House (January 31 through December 29, 2017):

The first publication acknowledging the craft of rug making was a pamphlet listing the exhibitors at the First Exhibition and Fair sponsored by the Maine Charitable Mechanic Association in 1838 at City Hall in Portland, Maine.  Even before that date, however, yarn-sewn or shirred “hearth rugs” were commonly produced to brighten up unused winter kitchen fireplaces during the hot summer months in Maine and the Maritime Provinces of Canada.  Unlike some early home crafts, rug-hooking survives today, having long ago transformed itself from a strictly utilitarian production to a major role-player in the history of American decorative arts.  Featuring a variety of antique, vintage, and contemporary rugs –plus other hooked items — this year-long display explores the unique story of non-woven rugs.  Members: FREE Non-members: Donation

Portions of this exhibit and its associated programming have been supported by the Florence Bickford Hastings Traditional Crafts Fund.

Image: Circa 1890 hooked rug made by Hannah J. Noyes (1862-1956) of Greenwood, Maine.