FOR IMMEDIATE RELEASE: May 31, 2007

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Arlington Artists Focus of Exhibit at the Bennington Museum

“Rockwell Kent to Norman Rockwell: The Arlington Artistic Community, 1920-1960” will be on view at the Bennington Museum from June 23 to August 19. Arlington, Vermont is tucked away in the Green Mountains. A small town that went through turbulent times during the Revolutionary War, it was a quiet farming hamlet in the first part of the 20^th century when it beckoned to no less than a dozen artists who made their homes there. Between 1920 and 1960, Arlington provided a home and inspiration to authors, artists, illustrators, painters, a sculptor, a composer, and a cartoonist, all prominent nationally in their fields. All of them inspired each other and were closely connected to one another, while encompassing a broad range of styles. The exhibition will focus on the works of these artists and the impact they had in shaping cultural America in the mid-20^th century.

The community perhaps began with Dorothy Canfield Fisher, a native Vermonter, author, and fervent supporter of the arts. Her role as friend and supporter of various artists attracted many of them to the area. Dorothy herself was a noted author whose popular books “The Bedquilt” (1915) and “The Brimming Cup”, brought her success in the literary arena. One of her earliest successes was “Hillsboro People” which chronicled life in small town Vermont through short stories. Her writings drew on her personal experiences in rural Vermont.

A friend of Dorothy Canfield Fisher was the enormously popular illustrator Norman Rockwell, who always felt that his move to Arlington was “a terrific boost for his work”. Rockwell’s goal was to focus on traditional American Values. He found the perfect environment in the everyday lives of his neighbors. His work was frequently pictured on the cover of “The Saturday Evening Post”, which was the height of any artist’s career at that time. The “Post” represented middle-class American values from 1900-1960 and was identified by its cover imagery. Also an illustrator of “The Saturday Evening Post” was Arlington resident George Hughes, whose work was less rural Vermont and more middle-class suburban. His paintings were on the cover of the “Post” 115 times from 1948-1962 making him the most prolific “Post” illustrator. .

Multi-talented Rockwell Kent lived and worked in Arlington on and off for six years. He came to Arlington through Dorothy Canfield Fisher’s support, and eagerly set up studio in an old barn. During the early part of his time in Arlington, Kent completed a group of paintings that depicted the Alaskan landscape he had recently visited with his son. He also edited journals from his travels into a book called “Wilderness”. He quickly gained success throughout America as one of the most popular painters, illustrators, and travel writers. Kent was also instrumental in convincing composer Carl Ruggles to move with his family to Arlington. He secured a monthly stipend for Ruggles from a fellow artist and heiress, Harriet Bingham (later Miller). It was with this stipend that Ruggles was able to compose at his own pace. His music was well received in the avant-garde musical community in New York City, and he later spent time between Arlington and New York making connections. While he made his living as a composer, he was also a visual artist painting in watercolor and gouache.

The list of artists in this close-knit group goes on, with Meade Schaeffer, a dear friend of Norman Rockwell’s and one of the country’s best illustrators, Gilbert Smith, Harriette Miller, the aforementioned mentor to Carl Ruggles and artist herself, John Atherton, another artist for “The Saturday Evening Post”, and Gene Pelham, who did everything from Arlington area landscapes to ads for flypaper.

Perhaps one of the most interesting stories is that of Don Trachte. Trachte moved to Arlington in 1949. He was the cartoonist for the comic strip “Henry” from 1933-1993. He was a friend of Norman Rockwell’s and spent many hours in Rockwell’s studio observing his techniques. In 1960, Trachte purchased “Breaking Home Ties” from Rockwell for $900. It was one of his prize possessions. In 2002, when Trachte went to a care facility, his family leant “Breaking Home Ties” to the Norman Rockwell Museum. Several years later Don Trachte, Jr. and his brother, Dave discovered behind a false wall in their father’s studio in Arlington, eight paintings that were the originals of ones their father had displayed in the house. One of these was “Breaking Home Ties”. What had been on display at the Norman Rockwell Museum was actually a copy that Trachte had made while the original hung hidden behind the false wall in his home. Along with the Rockwell, were original paintings by fellow artists and friends, Meade Schaeffer, George Hughes, Gene Pelham, Virginia Webb, and Leah Ehrich. The original “Breaking Home Ties”, which was sold at auction to an unknown private collector last year, will not be on display. However, Don Trachte’s copy of the Rockwell will be in the exhibit along with several of the other copies and the originals found behind the wall.

In “Rockwell Kent to Norman Rockwell: The Arlington Artistic Community, 1920-1960” a wide range of these artists’ works will be on view, from paintings, to charcoals, to musical compositions, to books and sculptures. This truly unique artistic community that blossomed in an unlikely small town in Vermont played a significant role in artistic America in the first half of the 20^th century. As patrons, models, critics, and loyal friends, they formed a bond and influenced art in America in a way that is rarely seen.

“Rockwell Kent to Norman Rockwell: The Arlington Artistic Community, 1920-1960” is sponsored by Chittenden Bank. Additional support is provided by Curtis Publishing, T & M Enterprises, and Applejack Art Partners.

You can view the exhibition with regular admission to the museum. Or better yet buy a membership! It’s a bargain, with unlimited free admission to the museum and discounts on many events and the shop. The Bennington Museum is located at 75 Main St. (Route 9) one mile west of the intersection of Routes 7 and 9 in downtown Bennington, Vermont. Open daily from 10 a.m. to 5 p.m. closed Wednesdays. For more information, visit the website at www.benningtonmuseum.org or call 802-447-1571.