Pretty City Hall. Gloucester DPW rehung art after the smoke damage cleared. Check out the ceiling cleaning!

Gloucester DPW rehung art throughout City Hall following the 2023 fire & smoke damage. Frames were rewired.

In Kyrouz Auditorium, the Mayors Portrait Gallery installation was shuffled and reordered to incorporate portraits past and future with more to come. Two large Howard Curtis paintings recently donated to the city’s art collection are featured in the main hall.

The Mayor Portraits Gallery is extensive, nearly complete, and a work in progress. Mayor portraits are installed following service: A portrait of Mayor Romeo Theken will be added. A poster of the Mayor Barrett portrait will come, the third in a series of poster reproductions for the trio of Mayor portraits painted by Charles Allan Winter (quick, not from life, unprimed, and flaking). I recommended the portrait of Mayor Dyer (A.H. Bicknell, 1879) be brought upstairs in sequence with the others, and that Mayor Merchant be represented (he wasn’t), so it’s great to see those two included. I also recommended that the portrait of Mayor O’Maley be brought back from O’Maley school and one future day a portrait of Mayor Foster (rather than a plaque) and perhaps a larger portrait of Mayor Beatrice Corliss be commissioned.

Images: Kyrouz Auditorium, City Hall, Jan. 2024, ©C. Ryan.

As is common with Gloucester DPW, the staff admires the architectural details and history of the building. Here, Joe and Jim take in the ‘scenic overlook’ from the balcony. Jim talks about the Kyrouz ceiling lights: the original engineering mechanism that drops the fixtures so that the bulbs can be changed remains operational.

2023 custom scaffolding set up CLEANING CITY HALL CEILING AFTER THE BASEMENT FIRE/SMOKE DAMAGE

The ceiling is sparkling because workers could reach it from atop a specialty scaffolding platform (a la Michelangelo :)). Images: Kyrouz Auditorium, City Hall, 2023. Courtesy photos, Joe Lucido, Asst. Dir. DPW

Look up!

On the Dale Avenue entrance side of City Hall, above the fire & smoke incident, the stairwell walls and ceiling received attention, too. The facilities remediation project was smartly directed by DPW.

City Hall 1867 1869 1871

photo: 2013, C. Ryan

City Archives is open and as ever ready to help!

GLOUCESTERCAST 701 Interview with Filmmakers Michael Cascio and Phil Grabsky about their Edward Hopper documentary premiering on PBS Jan 2nd AMERICAN MASTERS – HOPPER: AN AMERICAN LOVE STORY

Interview hosted by Joey Ciaramitaro with Michael Cascio and Phil Grabsky, award-winning filmmakers who collaborated as co-writers and directors on  PBS American Masters | Hopper: An American Love Story , a documentary that premieres nationally on PBS January 2, 2024 at 9pm.

Despite being one of America’s most iconic 20th century artists, Edward Hopper has not been the subject of an American Masters biopic until this feature.  

Press play to listen (audio)- 

Press play to watch and listen (video)- 

This interview was broadcast from the Maritime Gloucester museum in Gloucester, Massachusetts on December 21, 2023. Host: Joey Ciaramitaro and Catherine Ryan with support from Pat Dalpiaz.

TOPICS INCLUDE

Michael Cascio (filmmaker); Phil Grabsky (filmmaker); the choice of the title (at 8:00min); Edward Hopper; Josephine Nivison Hopper (spouse & fine artist); the origins of Edward Hopper’s and Jo Nivison Hopper’s collaboration; the filmmakers’ access to locations of significance that inspired Hopper’s art (his formative years in Nyack where he was born and raised, Paris (33 min), Gloucester (15:22 min), Truro (Cape Cod), and Washington Sq. North in NYC; more Gloucester, Sebastian Junger & The Perfect Storm;  Hopper artworks Nighthawks, 1942 (23 min and lengthier dive at 26:40 min), Soir Bleu, Automat 1927, and The Mansard Roof (18:14 min); showcasing archives rare color footage of Edward Hopper interviews (21:00 min) and Jo’s diaries (23:00 min); Hopper’s cinematic qualities (26 min); solitude; luminaries mentioned in passing such as Mozart, Vermeer, Rembrandt; recent Edward Hopper exhibitions at the Whitney Museum (Hopper’s New York), Cape Ann Museum, and the Hopper House Museum (which featured work by Jo Nivison) 

American Masters – HOPPER: An American Love Story premieres nationwide Tuesday, January 2 at 9 p.m. ET on PBS (check local listings), pbs.org/americanmasters and the PBS App.  

TIMESTAMP SELECTION:

  • Michael Cascio (2:58): Mentions Cape Ann Museum and Whitney: “The most important thing was the art.”
  • Phil Grabsky (3:21): The first Hopper exhibit I saw as part of this project was in Nyack which is fantastic, a wonderful place where Hopper was born and lived…fortunate that they had an exhibit of Josephine Nivison’s work…hadn’t happened very often since she met Edward Hopper in Gloucester…One of the great revelations of the film of course is you can’t understand him without understanding her and that is all cemented in Gloucester…
  • Michael: Film is done for American Masters on PBS that specifically looks at person and relationship to what they do. When I realized that American Masters had not done one on Hopper, which was a big surprise because they had done Wyeth and Rothko and others,…”
  • Joey Ciaramitaro (8:00 min.): How did the title Hopper An “American Love Story” come about?
  • Michael (13:00): Jo picked up the thread. She was the opposite…Story of modern day, of a wife giving up a very promising career to promote his…”
  • Phil (13:50): Also have to look at the evidence…The Whitney exhibition, Hopper’s New York…featured (theater) ticket stubs–multi-color torn in half, and they’d write on them what they’d seen–in a fantastic display case. You cannot understand the paintings which are iconic without understanding his biography, and you can’t understand his biography without understanding their relationship…
  • Joey (15:22): Edward Hopper and Jo Hopper clearly painted side by side in Gloucester. St. Ann’s steeple, if you’re from Gloucester, you know that site right away…
  • Michael: It’s amazing. Visual proof right there.
  • Phil (16:30): Surely you know in your community, what’s so attractive in Gloucester to artists and so many artists would come and paint (Joey: the light) boats, and fishermen. Hopper paints the front of buildings. What’s so great in Gloucester, and the film has these dissolves, these buildings are still there…You can see exactly what Hopper was painting. It’s fascinating to see how he transforms the 2-dimensional canvas into a painting. It really kicks off his career. Without Gloucester…
  • Michael (17:50): You can make the case without Jo there wouldn’t necessarily have been Edward Hopper. Without Gloucester there wouldn’t have been the two of them. It was a meeting point for both of their lives…
  • Joey (18:14): Was Mansard Roof the painting?
  • Catherine Ryan (CR) (18:30): You kick into Gloucester about 14 minutes into the documentary and the music changes. And it’s a light piano…
  • Michael (18:43): It’s a love story at that point. They’re falling in love. It’s a great moment. It’s essential to the story. It’s the pivot point for the entire story. And I think that’s part of what’s different in this particular documentary…Jo’s influence and the beginnings of which are in Gloucester are central to the story…
  • CR1(19:50): Can you tell us about the voice overs, the process working with them and getting such big notables (JK Simmons reading Ed and Christine Baranski reading Jo)
  • Michael (20:06): Our friends over at PBS (and the pandemic and the actors’ strike)…Christine Baranski was the perfect voice…They’re all wonderful. Christine Baranski was Jo personified.
  • Phil (21:00): Adds the first thing you do when you’re making a documentary film is try to find correspondence…letters, for more recent artists filmed interviews, video interviews. Because then you get their actual voice…Our fear with Hopper…can you imagine a very successful artist basically not interviewed (on the cover of Time magazine), he was almost like a recluse at times, but really what’s the reality?…when he does speak, when he writes a newspaper, when he does give an interview, he is extremely…What are the pictures telling me?
  • Joey (24:30): I found the interviews that you include fascinating and show that he cared about his legacy. He was not aloof.
  • Michael : You can see he’s thoughtful in the black and white earlier interview. And the color one which we dug up in the NBC archives which no one as far as I know had done anything of substance with it. He’s reflective. Back on his career and shows humor. He’s extremely observant about his career and his own work. There are no accidents. He’s very aware.
  • Phil (25:41): There’s an interesting point you raise there which is the extent to which he cared about what he thought after he died. (26:05 segues to cinematic qualities in Hopper’s work.)
  • Michael (27:25): And why am I, are we, so attracted to it…people bring their own views…Maybe the solitary aspect of it or communal…
  • Phil (28:26): What we do in the film is provide a chance to look at it again…
  • CR (29:00): I admired how you let the curators/experts’ personalities come through. They’re all seated. They’re almost all like Hopper (paintings)…I thought the film structure mirrors the artist’s process in that way. You let the art speak and the people interpreting.
  • Michael (30:00): The art is the star. The art tells the story. We’re not going to mess with it…As a result there are 30 or 40 images there that help tell the story. We didn’t skimp!
  • Phil (30:50): You want to have the audience have the questions in their minds before you give them, or some of the answers…

Continue listening! Find and/or download the Gloucestercast podcast 701 here

Images: Edward Hopper artwork discussed in the interview

 
 
 

GloucesterCast 701 PBS American Masters – Hopper: An American Love Story Link to Join Here-www.facebook.com/goodmorninggloucester

GloucesterCast 701 PBS American Masters – Hopper: An American Love Story

Link to join here-  www.facebook.com/goodmorninggloucester 

Press play to listen (audio)- 

Press play to watch and listen (video)- 

When you subscribe you need to verify your email address so they know we’re not sending you spam and that you want to receive the podcast or GMG in your email.  So once you subscribe check your email for that verification. If you don’t see it, check your spam folder in your email acct so you can verify that you’d like to get them via email subscription. 

        img_1312      

 
 
 
Topics Include:
 
Please share the podcast! If you share the podcast while we are taping we will write down your name and you will be entered into a drawing to win a prize that we will choose about 2/3 the way through the podcast.
 
 
Join the livechat here: www.facebook.com/goodmorninggloucester
share the podcast while we are live and type “shared” in comments to be entered to win prizes we draw at the end of the podcast.

        

 
 
 
 

Mad Merry Highlights Reveal 2023 | Holiday Lights and Cocoa Drives Map #GloucesterMA Homes

The last batch! Here are images of the final Gloucester homes added to the Holiday Lights and Cocoa Drives 2023 edition, the Google online and printable map, and the 2023 Mad Merry Highlights Tour reveal. Whether they’re religious or secular, traditional or one hit wonders, minimal or ornate, by hand or by hire–; let’s admire the joy and creativity brought to their Gloucester designs and the spark they share from a little light on dark winter nights!

note: you might want to increase the brightness on your display if you have it set low.

IMAGES: As in deck the halls, doors, windows, roofs and yards with boughs of holly-holidays! Here’s the list of 20 (alphabetized by roads in Gloucester neighborhoods)

  • BAYVIEW
    • 7 Cherry Hill Road Impressionist Jewell
    • 18 Reynard Street Journey of Joy
    • 22 Reynard street White Lights Wonderland
    • 37 Reynard Street Red Lights Shimmer
    • 42 Reynard Street Blue Green Showstopper
    • 8 Spruce Road Ho Ho Holiday Spirit
  • EAST GLOUCESTER
    • 6 Abbott Road Aglow & Glistening
    • 2 Crestview Terrace (off Harrison Avenue) Christmas Corner
    • 6 Crestview Terrace (off Harrison Avenue) 1970s Animation Islands
    • 4 Elizabeth Street Frosty House
    • 12 Elizabeth Street Joyland House
    • 29 High Popples Road
    • 8 Lendall Street (off Harrison Avenue) Lights on Lendall
    • 12 Starknaught Road (off Witham) Starknaught Santa candy cane cheer
  • DOWNTOWN
    • Centennial & Washington St. Blue Angel
    • 6 Friend Court Santa Waving
    • 79 Perkins Street Indigo Traditional
  • MAGNOLIA
    • 357 Western Avenue Merry and Bright
  • WEST GLOUCESTER
    • 12 Concord Street Gingerbread Dazzler
    • 326 Essex Avenue Magical Delight

Images: DOWNTOWN. 57 Prospect St. at the RR & Maplewood buoy intersection; 158 and 160 Washington Street pair; Corner of Ashland Place & Washington St. (across from Poplar)

Merry Whimsy Highlights

Images: Have you seen…? The blue crescent moon rising over Rt. 128 between the rotaries is the OG hanging lights design–an annual beacon heralding the Seasons that’s inspired others; the magical lights reflecting Goose Cove; ‘Merry’ on Cherry hedge; Days pond’s tiny floating Santa; Santa and his reindeer flying in the sky (seen from Rt. 128)

ROADS WORTH A RIDE AND ICONIC SCENIC STOPS

Roads worth a ride: Essex Ave (Rt. 133) between Essex and Kent Circle in Gloucester; Finch Lane; Elizabeth Street; Harrison Ave (to Crestwood); Reynard Street, Reservoir Road, and High Popples.

Iconic Scenic Stops: Gloucester’s Christmas trees at Kent Circle and Lobster Trap Tree on Harbor Loop, the Lobster Trap Menorah on Middle Street and Rockport’s Christmas Tree in Dock Square are enchanting! (This year there are more homes illuminated on the drive into Rockport via Eastern Ave.)

Trends 2023

Images: the Red and Green color scheme!

Photo Batch #5 (last one for this season!)

Images: photo additions as of Dec. 14th to the Google map include the following streets: Reynard Street, Linden Road, Cherry Street, Finch Lane, Washington Street, Brightside Ave., Crestview Terrace, Decatur Street, East Main Street, Hartz, High Popples Road, Marina Drive, Western Avenue

2023 Map Holiday Lights and Cocoa Drives

A selection of Gloucester’s decorated homes (about 250). Photos were posted on Good Morning Gloucester in 5 separate batches.

This is the last batch of photos for 2023. There are photos of about 250 homes. Some are added to the map in bundles on streets. There is at least one image for each map point. If I’ve missed one of the requests or a favorite let me know.

PRINTABLE | Seek & Find Mad Merry Highlights 2023

Sure is Twinkling Out there! Holiday Lights and Cocoa Drives Past Gloucester houses- Batch 4 🚗☕🎄

Magical routes are waiting for you! Another 100 or so homes were added to the Holiday Lights and Cocoa Drives map as of December 8, 2023. 

photos caption: C. Ryan. Batch 4 selection of enchanting homes downtown, East Gloucester and West Gloucester down these roads in no particular order: Concord Street, Essex Avenue (Rt. 133), Washington Street, Beach Court, Gloucester Avenue, Middle Street, Fleetwood Drive, Prospect, East Main Street, Goose Cove Lane, Friend Court, Burnham Street, Perkins Street, Back Shore, High Popples Road, Highland Court, Mt. Pleasant Avenue. Plus a couple along Eastern Ave in Essex (Rt. 133) and Main Street, Rockport. (Pinch and zoom to enlarge photos and right click for info).

2023 Map Holiday Lights and Cocoa Drives

More homes and neighborhoods will be added, so be sure to check back. Photos will be posted on Good Morning Gloucester in separate batches.

More to come. Roads not traveled include Magnolia, Annisquam…

Projector House Middle & Angle Streets

Frosty skating
Santa singing

Merry houses bring on winter charm. Holiday Lights and Cocoa Drives #GloucesterMA batch 3 🚗☕🎄

December 5th and already there’s an abundance of merriment and creativity! Enjoy another 50 or so sparkling homes. The 2023 map has reached 100 homes with streets and turns still to explore.

photos caption: C. Ryan. Batch 3 selection of enchanting homes down these roads in no particular order: View from Rt. 128; Centennial; Cherry St. (just a couple); Cherry Hill Road; Eastern Ave; Elizabeth St. Frosty; Finch St. (just one–will circle back); Wolf Hill Road (and Glenmere); Grove Street; Harrison Ave.; Hartz (will circle back); Harvard St. (from Centennial); Lendall St. correction; Macomber inflatable characters way; Maplewood; Marsh St.; Washington St. up to Marsh

These additions (and a couple do-overs from other nights) were added to the Holiday Lights and Cocoa Drives map as of December 5, 2023. (Pinch and zoom to enlarge photos and right click for info).

2023 Map Holiday Lights and Cocoa Drives

More homes and neighborhoods will be added, so be sure to check back. Photos will be posted on Good Morning Gloucester in separate batches.

More to come. Roads not taken, yet :)!: East Gloucester, Washington Street past Marsh St. to Rockport, Annisquam, Lanesville, Magnolia, Rt. 133, W. Gloucester, and return trips for new sparkling additions or repeat visits.

Twinkling Homes Spreading Joy | Holiday Lights and Cocoa Drives Batch 2 #GloucesterMA 🚗☕🎄

Gloucester blocks and streets are merry and bright! The magic grows daily with houses decorated simply, elaborately and everything in between. One design trend is a duo light scheme that’s solely red and green. Don’t you think that homes from batch 2 will surely be contenders for the Mad Merry Highlights Tour in 2023?

photo caption: C. Ryan. Batch 2 includes photo series of twinkling homes seen on Abbott Road, Eastern Avenue, Elizabeth Road, Harrison Avenue neighborhood, Harrison Avenue to Crestview Ter., Lupine, Reservoir Road neighborhood, Reynard Street, Spruce Street, and Starknaught Heights; plus 2 Gifs. These additions were added to the Holiday Lights and Cocoa Drives map as of December 1, 2023. (pinch and zoom to enlarge)

Gloucester’s lobster trap tree is built out in its temporary site on Harbor Loop, soon to be enlivened by buoys hand painted by children. The lighting ceremony is on Sat. Dec. 9, 2023.

First group of photos 2023 (click here) includes the pink house, the first house spotted sparkling for 2023. Alas, not more pink themes out there yet.

2023 Map Holiday Lights and Cocoa Drives

For the 7th year in a row—and the 4th accompanied by a map with photos—enjoy snapshots of Gloucester’s decorated homes. More homes and neighborhoods will be added, so be sure to check back. Photos will be posted on Good Morning Gloucester in separate batches.

Archive of prior year maps see here

Holiday Lights and Cocoa Drives 2023 #GloucesterMA 🚗☕🎄🌟⛄🕎

Holiday Lights and Cocoa Drives is just getting going. This gem was spotted November 15th, the first of the season. Will Barbie pink be among the 2023 trends? Maybe. More homes and neighborhoods will be added, so be sure to check back. Photos will be posted on Good Morning Gloucester in separate batches.

photo caption (pinch and zoom to enlarge): For the 7th year in a row—and the 4th accompanied by a map with photos—enjoy snapshots of Gloucester’s decorated homes. Scroll down to see the first batch of twinkling houses that have been added to the Holiday Lights and Cocoa Drives 2023 map edition as of November 25. Also, scroll down to a list of area ‘Mark Your Calendar’, not-to-miss, seasonal events.

2023 Map Holiday Lights and Cocoa Drives

link here or google earth here

For prior year maps, see here

In addition to the area’s rewarding drives past cheery homes, beautiful seasonal tree lightings and festive sparkling downtowns are bustling with activities.

  • Nov. 25-January CAPE ANN: Cape Ann business store fronts are decked out. check out Winter Lights on Cape Ann
  • Nov. 26 GLOUCESTER: Gloucester tree lighting in Kent Circle and Santa parade
  • Dec. 1 ESSEX: A Very Essex Christmas Celebration. Santa arrives by boat.
  • Dec. 1, 2 MANCHESTER: Holiday Stroll; Christmas by the Sea and Santa by boat
  • Dec 2 ESSEX: Holiday market
  • Dec. 2 ROCKPORT: Christmas in Rockport. Santa’s arrival by lobster boat and Tree in Dock Square lighting
  • Dec. 2 & 3 GLOUCESTER: 2nd Annual Parade of Trees (fundraiser for Horribles Parade)
  • Dec. 3 GLOUCESTER (9am): Half Merry-thon & 5K race. Good Harbor Beach
  • Dec. 7 GLOUCESTER: Annual Ladies Night shopping
  • Dec. 8 ROCKPORT: Holiday shopping night
  • Dec. 9 IPSWICH: Jingle Bell walk
  • Dec. 9 ROCKPORT: Holiday wagon rides
  • Dec. 9 GLOUCESTER: extravaganza all day: Historic Middle Street Walk incredible program https://middlestreetwalk.org; Deck the Dock at Maritime Gloucester; Stacy Boulevard Chris Williams bronze planters dedication; Lobster Trap Tree lighting (4:30PM); and all in Gloucester’s 400+ anniversary year
  • Dec. 10 GLOUCESTER: Santa at sea Beauport cruiselines
  • Dec. 10 IPSWICH: Menorah lighting
  • Dec. 12 GLOUCESTER: Temple Ahavat Achim Lobster Trap Menorah Lighting
  • Dec. 14 GLOUCESTER: Men’s Night Shopping
  • Dec. 16 ROCKPORT: 78th annual Rockport Christmas pageant

Gold and Copper. Late Autumn in Gloucester.

photos: Fall vistas and Thanksgiving decorations in Gloucester, Mass., November 2023.

Which one? 3 test patches Curing, & 4 patinas. Daedalus at work on Bronze Tablet Stage Fort Park #GloucesterMA

Gloucester, Mass. August 9, 2023.

Part 2. “NOTABLE”. “EXEMPLIFICATION”. “ARBITRATION”.

Three test patches are visible on the commemorative bronze plaque set into Tablet Rock. Along with surface patina aesthetic choices, test patches are left to cure or age to see their impact. When considering care and protection for public art, there is no singular approach. There is no other American commemorative tablet that’s so colossal, set into a glacial outcropping in this precise angle and manner, and susceptible to its surroundings and climate over this length of time. Hence the test patches.

Daedalus is a renowned sculpture conservation firm and will approach this work with respect.

Money was raised to address the plaque and patination (some had preference for a brown finish) Gloucester Daily Times, 2016, and then that project was paused. As far as I know, funds were not returned nor redirected for restoration of the city’s art deemed in distress. At the time William Taylor addressed the verdigris:

As an antique dealer for decades who dealt many times with bronzes and patinas I completely agree that the tablet should not be restored. While I applaud…well-meaning and generous inclinations not only does natural oxidization form a protective surface it looks appropriate and should not be fiddled with. Restoration is too expensive and absolutely not necessary. Cleaning it would remove many decades of well acquired history.

William Taylor, letter to the editor, GDT

Restoration science about corrosion on bronze and copper vs. verdigris is fascinating. See Walker Hancock Comprehensive Plan 1958 related to patina. Some methods change. Some don’t.

Continue reading part one here .


Bronze tablet. Founders Plaque. Tablet Rock work 2023. Part 1 here

Daedalus crew working on Tablet Rock plaque Stage Fort Park #GloucesterMA

September 2023. Ladders up for Daedalus crew powerwashing the ‘founder’s plaque’ on Tablet Rock in Stage Fort Park.

work in progress photos: Daedalus restoration

About

The enormous 20th Century plaque on Tablet Rock in Stage Fort Park commemorating the first permanent European settlement, the “Founding of the Massachusetts Bay Colony in 1623”, was dedicated in August 1907. James R. Pringle was designated to write the inscription. The execution of the design and bas relief border was by Eric Pape.

“The nautical scheme of decorative framework and embellishment was the composite suggestion” of various committees dating as far back as the 1880s.

Image block documenting how Tablet Rock looked pre bronze tablet through today: before the plaque, 1901 (branded Battery K still visible); 1907 dedication, Library of Congress (Hammond with his daughter Natalie Hammond); 1970s; 1974 (graffiti beneath); 2016; 2019. Note the rectangular area beneath the plaque was lightened at the time of installation. The border carving degraded. The dark streaks accelerated after 2020 (note the verdigris patina 2016, 2019, etc)

©C. Ryan, 2016

© C. Ryan, 2019

part 2 | patina test patches here

PLAQUE TEXT

ON THIS SITE IN

1623

A COMPANY OF FISHERMEN AND FARMERS FROM DORCHESTER ENG.

UNDER THE DIRECTION OF REV. JOHN WHITE FOUNDED

THE MASSACHUSETTS BAY COLONY

____

FROM THAT TIME THE FISHERIES THE OLDEST INDUSTRY IN THE COMMONWEALTH

HAVE BEEN UNINTERRUPTEDLY PURSUED FROM THIS PORT

____

HERE IN 1625 GOV. ROGER CONANT BY WISE DIPLOMACY

AVERTED BLOODSHED BETWEEN CONTENDING FACTIONS

ONE LED BY MYLES STANDISH OF PLYMOUTH

THE OTHER BY CAPT HEWES

A NOTABLE EXEMPLIFICATION OF ARBITRATION

IN THE BEGINNINGS OF NEW ENGLAND

____

PLACED BY THE CITIZENS OF GLOUCESTER 1907

-transcription Founders Plaque. Tablet Rock. Stage Fort Park. Gloucester MA

Walker Hancock and the 1958 Comprehensive Plan for Gloucester. Zoning, Master Arts Plan, signage, trees, Inventory of significant homes, and more! #GloucesterMA

American sculptor Walker Hancock volunteered in many civic capacities while a Gloucester resident. While serving as the Chair of the city’s Art Committee in the 1950s, Hancock prepared a Master Plan that managed to forecast an array of evergreen topics: land use, zoning, preservation, open space, Main Street & downtown, public monuments, an arts commission, city improvements (like signage), beautification (trees and blooms), health & safety, tributes, and history– and all through a practical cultural and economic vision.

Robert F. Brown, Harold C. Dexter, Myron U. Lamb, Frederick H. Norton served on this committee with Walker Hancock.

As a World War Two Monuments Men leader, Hancock had overseen the prioritization, protection, and eventual inventorying of tens of thousands of cultural works of significance looted by Nazis. A decade later, cataloguing Gloucester’s plentiful assets was a rather small job for this talented committee–especially with Hancock serving as Chairperson! A brief few sentences from this amazing document allude to his expertise:

“During the Second World War the Allied Expeditionary Force acted under a directive signed by General Eisenhower which required them “To take all measures consistent with military necessity to avoid damage to all structures of cultural, artistic, or historical value, and to assist wherever practicable in securing them from deterioration consequent upon the processes of war”. 

To implement the directive of the Supreme Commander, lists of “Protected Monuments” were prepared, designating buildings of sufficient importance to justify the efforts to preserve them even during military operations. Many private houses were included in these lists. 

We owe it to ourselves and to the Nation to be at least as solicitous in regard to our own heritage of such structures and to secure them wherever possible from deterioration consequent upon lack of appreciation or neglect.

Attached is a list of structures in Gloucester considered of sufficient architectural value to warrant special effort to preserve them. It is not a complete list and does not include many of the charming houses the destruction or mutilation of which would be a loss to the city as a whole…”

Committee’s Master Plan report (Chairman, Walker Hancock, for Gloucester, Mass., 1958)

Flash forward decades, from 2000-2023, multiple arts ordinances, inventories, and drafts of master arts plan were crafted and/or attempted. (Prior to 2000–and prior to Hancock– there were wonderful asset inventories. Gloucester has amazing archives!) I served on multiple arts related groups and commissions (roughly 2010-2018), the downtown Cultural District, Tourism, and various downtown working groups. Numerous ideas and topics now were covered in this 1958 report, and would have been extremely helpful to reference.

With the upcoming 2023 Comprehensive plan underway and the first public meeting coming September 9th, I thought the writing from 1958 would be of great interest. Read through to see what suggestions have been realized or incorporated and which might be worthy of attention again.

Image: For the 1958 report, artist Betty deVicq provided a rendering for a potential beautication of the Fitz Henry Lane House.


Contents

  1. INTRODUCTION
  2. LAND USE
  3. BUILDINGS AND RESTORATIONS
  4. COMMERCIAL CENTER
  5. PUBLIC MONUMENTS
  6. CITY IMPROVEMENTS
  7. CIVIC ART COMMISSION
  8. APPENDIX (selection of home street addresses)
  9. LIST OF VALUABLE STRUCTURES

The following resolution was adopted on unanimous rising vote by the Municipal Council at its meeting in the White-Ellery House on August 1, 1957,

“Be it resolved that the Cape Ann Historical Association, together with other groups and individuals, recommend from time to time to the city Council and its successors their ideas and plans for similar improvements of the city of Gloucester in order that the Council may adopt all or part of said recommendations in furthering their overall plans for the future of the city.”

In 1606 Champlain named our Cape “Le Beauport”. For 334 years since that time Gloucester’s economic welfare and tax revenue have resulted directly or indirectly from the fishing industry and the recreation business. Our population now is the same as it was in 1890.

Because of modern transportation and Route 128, it is very probably that our historic economic pattern will change. Along with it will be a physical change. 

The greatest success in any venture is the result of planning and preparedness. The most intelligent action we can take at this time is to plan our city for a changing economic pattern and a possible increase in year round population from 26,000 to 40,000. 

Such plans revolve around the City Planner and the Planning Board. This report is to support the work of these people and to go one step further in a ld that is ordinarily beyond their scope of activities, but is an important adjunct to it. 

Its purpose is to preserve and enhance the reasons why tourists come to Gloucester, why people will choose to live here and commute to their jobs, and many an industrialist would choose to locate his new plant here.

The subject can be called the preservation and furtherance of our aesthetic advantages, or the protection of the beauty we now have and will have. Its aim

is making the most of our natural beauties in contrast to the stereotyped and ugly procedures in other American communities.

The proposals contained in this report are based on two fundamentals: beauty and cost. Many can be adopted in the normal course of planning with no cost beyond that which would ordinarily be created, such as road signs. Others, such as a Recreation and Art Center, can be provided for as to location and adopted when cost permits. Some proposals can be adopted by the Council, some by private citizens.

B. Zoning – Careful zoning of “raw”, or undeveloped, land offers any community the means for preventing overcrowding of the land that has been the common practice in all cities and towns in the past. Until 1916 there was almost no control over what a man might do in the development of his own land. He could break it up into as small lots as he could sell and the result was the problems we face today with slums and deteriorating old neighborhoods everywhere. In 1916, the first zoning ordinance was put into effect in New York City, the need for which had arisen from the greediness of land owners and landlords in building the tenement districts on the East Side of New York.

Bitterly opposed at first as a blow to personal freedom in ownership of property, zoning laws have spread all over the world and are now considered as necessary in urban life as a law prohibiting driving on the wrong side of the street. 

Zoning legally is based upon the police power to provide for the health, safety, and welfare of the public. Until recently there has been no legal basis for regulation with purely aesthetic ends in view, but within the last few years there have been opinions handed down by the courts that a community has some legal right to regard aesthetic values. Heretofore the courts have held that aesthetics are strictly a matter of taste – “What I detest, you may adore”. Hence there have been no legal standards in aesthetics. In the years ahead, however, they will be as binding as other matters covered by zoning laws.

A phrase now included in most zoning ordinances, “and to provide for the communities”, gives a legal foothold to the aesthetic considerations of the use of land. 

Zoning can regulate the size of building lots and so do much to provide more space and light and air in residential areas. It can segregate different use of land and prohibit incompatible uses anywhere, such as residential use in an industrial area, as is usually the case in modern zoning ordinances, and

Land Use – 3

Prohibiting industrial use in a residential area.

In Gloucester, there is need for increasing, through wise zoning, the minimum lot size throughout parts of the city. At present 10,000 square feet constitute the minimum sized house lot in new developments. Recorded or registered lots of 5,000 square feet are still usable, and there are many of them.

In those parts of Gloucester still undeveloped, future sewers are “economically impracticable”, to quote a recently completed survey of the sewer needs of the city, and for this reason alone lot sizes should be increased in some parts of the city from 10,000 to 20,000 square feet per lot. Lot sizes in these categories would result in future years in preserving much of the present character of Gloucester which make it such an attractive city in which to live. The recent zoning of the Eastern Point section for 40,000 square foot lots makes certain that the general character of that portion of the city will not change. 

From an economic point of view it should also be borne in mind that small houses on small lots contribute less tax revenue than they require for municipal services while large houses on large lots are income producing homes. That distinction is in the vicinity of $16,000.

One current danger is that land which should be reserved for future residential development may be zoned for industrial use under the pressure that Gloucester needs industry and anywhere that it might go is the place to put it. In any future rezoning of raw land,

“we should make certain that all potential uses of it are considered impartially before making the final decision. The land is any community’s basic resource. We should protect and wisely use that resource in Gloucester in planning our future development. This is a job for all the residents of Gloucester, not just the planning board and the city council.”

1958 Committee Report for Gloucester, MA, Chairman Walker Hancock

Land Use – 4

A Citizen’s Council for city planning should be organized to work in consultation with the planning board to insure that the city’s comprehensive plan is in keeping with the best interests of the community, and to support the Planning Board in carrying it out. This council should be composed of a cross section of the various interests represented among the tax-payers of Gloucester, such as merchants, industrialists, real estate agents, home owners, educators, etc. Such a group, which should be as small as possible, consistent with balanced representation, would provide a democratic safeguard against infringements upon the best public interest.

C. Reservations.– The attractions that have made Gloucester famous a summer resort are not merely places for swimming and boating and other amusements. The appeal to the summer vacationist, as well as to people seeking an all year-round residence, of large areas of unspoiled woods, moorland, and shore without artificial “tourist conveniences” can hardly be overestimated. The existence on Cape Ann of such features has brought to our city great numbers of people who prefer them to the kind of tourist amusements offered, for example, by Salisbury and Revere beach. Our good fortune in having an established community of this character should be recognized in time to preserve it. 

Fortunately, Ravenswood Park, Stage Fort Park, the Magnolia Shore Reservation, and Mount Ann have been saved for the future. Mr. Roger Babson’s recent gift to the Cape Ann Historical Association promises possibilities of making the main entrance to the city impressive, handsome, and of unusual interest to the tourist. Start has been made at Plum Cove by the action of the Municipal Council in setting the area aside for future use as a school site and recreational area. But these reservations would be far from adequate even for a city the present size of Gloucester were it not for the other open areas that will soon be lost to us unless some action is taken. 

Land Use – 5

As an example of the kind of land that should be maintained in its present state, the southeast shore of Goose Cove may be cited. The changing beauty of the bank of flowering shrubs gives pleasure to thousands of passers-by the year round.

A much larger and more important opportunity exists in Dogtown.

D. Dogtown Common. – The Civic Arts Council strongly recommends that the Gloucester Municipal Council give serious consideration to the preservation of Dogtown Common as a permanent historical monument. We make this recommendation for the following reasons:

1)The abandoned village of Dogtown is a tourist attraction of the first magnitude. It is the only place in the eastern United States where one may see the original environment of our early settlers. As time goes on, this site will become of increasing importance in bringing visitors to Gloucester.

2)This area is of especial interest to those interested in nature, as it abounds in rare flowers and is inhabited by  many species of birds and animals. The geologist finds this region of glaciation an important study area.

3)It is one of the duties of this generation to pass on to our children and grandchildren some areas of unspoiled nature where they may escape for a time from the pressures of civilization. Few cities in New England have the unique advantage of having such an areas within walking distance of its center. If the area is once in “developments” it can never be reclaimed.

4)It is feared that pressure for more land for homes and industry will soon irretrievable encroachment on this area. The only reason it has escaped so far is because of the excessive costs of putting in roads, water pipes and sewers. The area marked on the accompanying map, comprising Dogtown Common, is smaller in relation to the island portion of Cape Ann than is Central Park in relation to Staten Island. It is suggested that Municipal Council determine the owner-

Land Use – 6

ship of this land with the objective of acquiring it by 

(1)forming a land trust (such as the Squam Rock Land Trust) where private subscription would raise the money for purchase; 

(2) acquisition by the State, in which case the city loses its control over the area;

(3) direct purchase by the city as part of its park system

We feel that of the three alternatives it would be most practicable for the city itself to acquire the land.

During the Second World War the Allied Expeditionary Force acted under a directive signed by General Eisenhower which required them “To take all measures consistent with military necessity to avoid damage to all structures of cultural, artistic, or historical value, and to assist wherever practicable in securing them from deterioration consequent upon the processes of war”. 

To implement the directive of the Supreme Commander, lists of “Protected Monuments” were prepared, designating buildings of sufficient importance to justify the efforts to preserve them even during military operations. Many private houses were included in these lists. 

We owe it to ourselves and to the Nation to be at least as solicitous in regard to our own heritage of such structures and to secure them wherever possible from deterioration consequent upon lack of appreciation or neglect.

Attached is a list of structures in Gloucester considered of sufficient architectural value to warrant special effort to preserve them. It is not a complete list and does not include many of the charming houses the destruction or mutilation of which would be a loss to the city as a whole.

In the eyes of posterity the Universalist Church, the birthplace of Universalism, will undoubtedly be the most important monumental building that the city possesses. Its exceptionally fine proportions and detail and the great beauty of its tower make it one of the precious examples of American architecture of its period. The City Hall and the Church of Our Lady of the Good Voyage are both Gloucester landmarks of special significance–the former because of the impressiveness of its mass and dominant position which it occupies in the city, the latter because of its carillon, its twin towers, and celebrated statue. The towers of all three of these buildings have been made famous by countless paintings which are shown all over the country.

Gloucester has few residences of the architectural pretentious of many in Salem and Newburyport. Nevertheless, it contains many old houses that have a distinctive quality that contribute more than is generally realized to the 

Buildings and restorations – 2

Character of the city . Many such houses have already been superficially spoiled. It would be possible to restore most of the houses that have been unwisely covered with substitute materials by the use of appropriate siding and painting. The Civic Art Committee holds itself ready to advise on the proposed alteration or restoration of any such building. The aid of this Committee is proffered in cases where community effort is needed to restore churches designated in the list by brining to the attention of citizens the importance of the project.

The west end of Main Street offers a remarkable opportunity for restoration that would give real distinction to the neighborhood near the Legion Hall and the Town Landing. The brick houses on the water side from Town Landing to the STrand Theater were built in 1832, the result of a friendly agreement between the families concerned to create an entire street front that should be harmonious. It would require only a similar public spirited move on the part of the present owners and a surprisingly small investment of money to put back street floor entrances and windows as they were originally and make the west end of Main Street an inviting section of the commercial district. If private initiative and means are lacking, some of the uses suggested for certain of these buildings are: a community art center, another club or meeting place, a fisheries museum – or the whole area might be revitalized as a shopping section.  This is an opportunity that should not be wasted. 

Enclosed is a sketch of the Fitz Hugh (sic) Lane House dominating a parking lot in the Locust Street area to show how the restoration of a historic site can be effectively combined with modern commerce.

Among the new buildings needed in Gloucester, a Recreation Center and an art Center are of prime importance. It is hoped that the sites, at least, for these projects can be determined in the near future with a view to arousing the necessary public interest to insure their eventual realization. Again, this committee stands ready to advise on the location or design of such buildings.

Illustration: Betty deVicq drawing circa 1958 [rendering of potential restoration of “Stone jug” on Ivy Court, overlooking Duncan street, the former home and studio of Fitz Henry Lane.]

The commercial center is of vital economic importance to Gloucester. It has already been pointed out that commerce and industry provide more tax income to the city than the municipal services they require while the opposite is true of residences. If the commercial center has the right combination of tangibles and apparent intangibles, it will cause more people to use Gloucester’s Main St. area than other shopping centers or areas, with the resulting financial benefit to the city itself. 

Few cities in the country built their commercial centers after the invention of the automobile. Therefore, all cities are in some stage of tearing down buildings in their race to overcome the competition of spacious shopping centers. Our merchants and city government are making progress with the traffic flow and parking problems. We all realize there is more to be done. That is not the  province of the Civic Art Committee, yet that group would not hesitate to suggest to the planners and the merchants a bold plan to consider. 

There are more reasons than traffic, parking, merchandising and sales promotions which cause shopping in one city rather than another. A local citizen touring the country would observe the commercial centers of certain communities which create an impulse to stop while others created an impulse to hurry on through. That intangible element is usually carefully planned. It might be the limitation on height of all the buildings. The observer might notice that the store signs are limited in size or in color or that none of them blink. Perhaps the eye-appeal is due to set-backs from the sidewalk with grass and landscaping or cool shade trees. It might be harmonious store fronts.

The large shopping centers today with their circumferential parking have done their best with landscaping to create eye-appeal and pleasant shopping, yet that artificial attempt does not compare with natural beauty of our Middle Street, and its irreplaceable old buildings on one side of Main Street and the colorful

  1. General. – Public monuments–particularly those out of doors–are an immediate indication to the newcomer of the community’s pride in its history and the achievements of its citizens. Gloucester possesses a masterpiece of sculpture in the statue of Joan of Art by Anna Hyatt Huntington; and the Gloucester Fisherman’s Memorial by Leonard Craske, is sought out by tourists as one of the most interesting sights of the city. In addition, there are monuments of historic importance such as the Spanish War Memorial and the Civil War Memorial at the City Hall. These should be maintained by occasional cleaning.
  2. Maintenance. – The proper care of bronze and granite monuments is a simple matter if not neglected for too long a time. Bronze sculpture out of doors should be sprayed or washed occasionally with clear water to remove the dirt that gathers where the rain does not reach it. When the entire surface is exposed to the air it will be covered evenly with a natural green patina. Bronze tablets should be washed with clear water and, when dry, brushed with floor wax softened in naphtha. The bronze should never be lacquered. Granite can be cleaned with a mixture of saturated solutions of fluoride and oxalic acid, brushed on quickly and then flooded with clear water. It is necessary to remove all traces of the acids. Preparations for cleaning granite which will not harm the stone are available commercially.
  3. Locations. – From time to time new monuments may be erected, or it may be deemed advisable to change the location of existing monuments. These locations involve various considerations such as proper relation to the flow of traffic, scale in relation to surrounding buildings or open space, planting, material, and fitness of design. No decisions regarding the placing or design of public monuments should be reached without competent expert advice. 

a. Street Signs

  1. Directional Signs. The city of Gloucester at present employs a very competent sign painter. There is an opportunity, given a consistent policy and some proper direction, of making the necessary directional signs contribute to the attractiveness of the city instead of adding to the sense of disorder, as at present. Legibility is the first requisite of a good sign. The shape should be simple and the background color in harmony with its setting. The signs used on the state highways are successful because of the dark green background which blends with the surrounding country and the white letters which are easily legible from a distance. The simple Roman letter is the most easily read of any, and the better the proportions of the letters the more legible they are. The use of unnecessarily large signs with brilliant colors should be avoided. 

Where commercial directional signs are required they should be painted under city supervision and placed by the city  in locations designated by the Planning Board. They should not be scattered. Instead, they  should be grouped together in tiers on sign boards or post specially constructed in order that changes or additions may easily be made. The color and type of lettering used should be established by the city. Uniformity in these would avoid confusion, contribute to the orderliness of the city, and give equal advantages to all concerned. The cost of these signs would be borne by the parties requiring them. 

  1.  Commercial Signs. Control of commercial signs in certain areas is within the province of zoning. They should be regulated according to size and construction. 

Illuminated signs may become a great nuisance even at a distance. The utmost consideration should be given to the control of such signs; and even though they be located in commercial districts, they should not be placed as to be noticeable from residential areas. 

Improvements–2

There is an opportunity even in the simplest lettered sign to add an attractive feature to a building. Among the examples of good commercial signs in Gloucester are: The Folly Cove Designers, Cape Ann Fruit Company, Hatfields Color Shop, the Captain’s House, Gloucester Marine Exchange, and the Cape Ann National Bank.

  1.  Advertising Billboards. Billboards have put a serious blight upon American cities as well as upon our highways. They often completely destroy the beauty of the best cities; and wherever they appear the aspect of the community is cheapened. By creating confusion they cause a definite traffic hazard. No advertising billboards should be permitted on public property. The strict regulation of those on private property is not only a prerogative but a duty of municipal as well as state governments. In its unanimous decision sustaining the validity of the District of Columbia Redevelopment Act, the Supreme Court said: 

“The concept of the public welfare is broad and inclusive. The values it

 represents are spiritual as well as physical, aesthetic as well as monetary.

It is within the power of the legislature to determine that the community

should be beautiful as well as healthy, spacious as well as clean, well

balanced as well as carefully patrolled.”

b. Fences. –  Fences, like signs, can greatly mar an otherwise fine street or landscape. On the other hand, a fence can be made good-looking as well as strong with little or no difference in cost. Unfortunately there has been no consistent consideration given to the appearance of fence built by the city. They range from handsome granite walls that would do credit to any community in the world to unsightly rails along some of our finest shore drives.

Types of heavy fences have been developed for parkways strong enough to keep a drunken driver from running off the road, but which actually add to the attractiveness of the landscape. Here, as in the case of signs, the background

Improvements –3

should be taken into consideration in selecting the appropriate type of construction. 

c. Trash containers. It is hoped that an awakened city pride will result in some degree of care about the disposal of rubbish. Trash containers, strategically placed, will help as reminders as well as to provide the means of easy rubbish disposal. However, the trash containers themselves should not be unsightly. Sufficient attention can be directed to them without the use of garish colors. White lettering on dark backgrounds will generally be found preferable.

d. Cleaning and Policing of Roads. – Miles of gloucester’s scenic shore roads are constantly littered with rubbish. Strict enforcement of existing ordinances with some exemplary prosecutions, should go far toward correcting this situation.

e. Place Names and Markers. – It is an important duty of the community to keep alive in the minds of its younger people the achievements of citizens who have brought honor to it in the past. Place names and monuments are a perpetual reminder of the example of courage and moral strength set by our forbears. As the names of Washington and Lincoln give inspiration to the nation, so should the names of Gloucester’s courageous sea faring men inspire this and future generations of our citizens. These men should be memorialized in the names of new streets, squares, and traffic circles that will be added to the growing city. In addition to the name, markers should recount briefly the heroic act for which each man is remembered. Among those who should be honored in this manner are Howard Blackburn, Marty Welch, Alfred Johnson, Clayton Morissey, Sol Jacobs, and Alden Geale; and there are other men still living who should be given the same recognition.

The sites of the old shipyards, about a dozen altogether, should be appropriately marked, to include the names of the more famous schooners built at that location. Site marking should be carried to other locations of interest, such as the Steamboat Wharf at Duncan’s Point.”

This would have been great incorporated into the HarborWalk markers–and a wonderful Schooner Festival trail brochure.

f. Planting. There should be more to the city physically than building walls

City Improvements —4

and the barren pavement of streets and parking lots. To be desirable as a place where people like to live or visit it must be attractive, and much of a city’s attractiveness comes from its parks and other open green spaces and, particularly, from well-cared for plantings of flowering shrubs and street trees.

Gloucester’s elms were once the glory of the city. Within the lifetime of single generation of hundreds of trees have been lost to disease, neglect and street-widening with no adequate financial program for replacement, feeding and yearly care to prevent destruction by disease. 

The trees in the yard of City Hall are good examples of what can happen to good trees. The pavement of the parking area surrounding City Hall surrounds the trees to their trunks. They are never fed. Water cannot reach their roots except in very small quantities and the results are shown in their drying branches. 

When Rockefeller Center in New York was built, the way was shown for the proper care of street trees. Large pits of well fertilized soil were prepared with plenty of humus for the retention of moisture and to provide adequate aeration of the roots. The surface of these tree pits was covered with widely spaced paving blocks set in sand so moisture and air could easily penetrate to the roots of the trees. The trees have thrived, even on Fifth Avenue.

Our own trees, in City Hall yard and elsewhere in the city, would take on a new lease of life if they could be treated in the same way.

Gloucester has an unusually favorable climate for plants of all kinds because, being surrounded by the sea, its climate is tempered and always contains a good percentage of moisture. We can grow here many species of trees and flowering shrubs which do not thrive in more inland communities. 

Many communities, particularly in the South and West , have become famous for their vigorous program of beautification through attractive plantings. As much attention is paid to the maintenance of the parks, trees and shrub collections

City Improvements —5

as is paid to the maintenance of city streets. Such programs pay off in dollars because these communities are more desirable in which to live and do business and because their excellent plantings make them more attractive.

In Gloucester it would be worth our while to develop a long range plan of beautification of the city through planting of street trees, collections of appropriate flowering shrubs in our parks and as settings for our public buildings, and to relieve the barren deserts of our public parking lots. The yearly cost need not be great and would be amply justified  by the improvement in the appearance of our city.

e. Care of Burying Grounds – In the very center of the city, one off Church Street, the other off Prospect Street, there are two early 19th century burying grounds which are a disgrace to the community. These places have been used as dumps for the last fifty years or more. In the Church Street cemetery certain caved-in brick vaults are a hazard to the children who play around them. From time to time all kinds of rubbish, bed springs to garbage, have been thrown into them. The Prospect Street cemetery, exposed to public view, is merely a large tract of unkempt grass and weeds scattered over with broken gravestones. Children use it as a playground. It is, in fact, an ideal place for a playground and a small park, greatly needed in the congested heart of Gloucester. Planting could make it a beauty spot at relatively small cost. In answer to the legal problems that such a project would entail, it should be noted that the Babson School was built on an old cemetery. 

The ancient burying ground entered from Centennial Avenue is in worse condition then the one on Church Street. In it are buried soldiers of the Revolution and the War of 1812, the architect of the Universalist Church, and the citizens who built it, as well as many of Gloucester’s founders and benefactors who deserve to be remembered for what they did for the city.

In order to safeguard the appearance of the city and to carry out in detail many of the points previously mentioned in general, it is recommended that Gloucester follow the successful example of many American cities by instituting a Civic Art Commission to advise on all municipal matters involving aesthetic considerations. This is necessitated by the fact that such an unusually large proportion of this city’s economic resources and attractions are of an aesthetic nature. 

The Civic Art Commission would be composed of seven members appointed by the Municipal Council on the recommendation of the Council of the Arts. The City Planner would be a member ex officio. The remaining positions would be filled by a business executive, an authority on architecture, an artist, a representative of the garden clubs, a representative of the Cape Ann Historical Association, and a citizen at large. Where appropriate, a qualified university or technical school professor could be appointed. Except in the case of the City Planner, terms would be for three years, two members to be replaced each year. 

The Civic Commission would:

  1. Approve all works of art to be acquired by the city, whether by purchase, gift or otherwise and would approve its proposed location
  2. Require to be submitted to it, whenever it deemed it proper, a complete model or design of any work of art to be acquired by the city.
  3. Approve the design and proposed location of any building, bridge and its approaches, arch, gate, fence or other structure or fixture to be paid for, either wholly or in part, from the city treasury or for which the city or any other public authority is to furnish a site, but any such action taken by the Commission should conform to the city’s Comprehensive Plan.

Public Art Commission —2

  1. Approve any structure or fixture to be erected by any person up0on or to extend over any highway, stream, lake, beach, square, park or other public place within the city
  2. On main highways, in important areas such as the center of the city, and in areas surrounding parks, squares, public beaches, historic or other important buildings, adopt regulations to c control outdoor advertising
  3. Approve the removal, relocation or alteration of any existing work of art in the possession of the city
  4. Examine every two years all city monuments and works of art and make a report to the Director of Public Works on their condition with recommendations for their care and maintenance

“Work of Art” would include all paintings, mural decoration, inscriptions, stained glass, statues, reliefs, or other sculptures, monuments, fountains, arches or other structures intended for ornament or commemoration.

In all matters pertaining to work under a city department, the head of that department would temporarily act as a member of the commission but would have not vote.

The Commission would not be an enforcing agency. However, permits from the city would not be issued until matters within the province of the Commission were approved by all.

“If the Art Commission failed to act upon any matter submitted to it within sixty days after such submission, its approval of the matter submitted would be presumed.

Walker Hancock & Committee, 1958 (simple and easy sentence!)

The accompanying chart of the organization of the Municipal Government shows how the Cape Ann Arts Council and the Civic Arts Commission would fit into the organization of the city. 

Following is a list of old structures in Gloucester exemplifying the styles of building that contribute greatly to the character and charm of the city. Special effort should be made to preserve these and others like them, as they will become increasingly important in the future.

The list is by no means a complete one. In some parts of the city, such as Annisquam, the number of interesting houses makes a choice of the best examples very difficult. 

Fortunately, most of the houses here listed are well cared for. Some, however, are neglected; some have been inappropriately restored or altered; some have been unsuitably painted. 

Street | Number

  • Angle Street: 8
  • Beacon Street: Unites Spanish War Veterans
  • Chester Sq: 2
  • Concord St.: 4, 23
  • Dale Ave.: City Hall
  • East Main St.: 108, 130, 161, 168, 182, 247, 261, 283
  • Eastern Ave.: 56, 118
  • Eastern Point Rd.: 4, Fairview Inn
  • Essex Ave.: 302, 412, 433
  • Friend St.: 17
  • Gerring Rd: 3
  • Gould Court: 20, 22
  • Granite St.: 3
  • Hesperus Ave.: Master Moore House
  • Appendix – 2
  • Highland St.: 7,8,9,17, 19, 25, 32, 37
  • Hovey St.: 4
  • Ivy Court: Fitz hugh Lane House
  • Langsford St.: 1,2,9,21,37
  • Leonard St.: 14,28,31,48,53,54,77,81,146,150,152
  • Lincoln St.: Haskell-Atkins House
  • Main St.: 17,19,29,31,33,35,43,43A,45,47,49,50,51,55,61,63,65,67,69,71,196, Cape Ann National Bank, Gorton’s of Gloucester, 304, 308, 316
  • Mansfield St.: 45
  • Marchant St.: 6,12,14,16
  • Mason Sq.: 3
  • Middle St.: 20,21,24,27,35,40,First Univ. Church, 51, Sargent-Murray Gilman House, 52, 58, 61, 62, 63, 68, 69, Temple Ahavath Achim, Sawyer Free Library, 77, 81, 87, 90
  • Mt. Pleasant Ave.: 77,121, 141
  • Mt. Vernon St.: 25, 35, 38
  • Nashua St.: 6
  • Pleasant St.: The Captain’s House, Capt. Elias Davis House, 29-31, 48, 50, 
  • Plum St.: 25
  • Prospect St.: 27, 83,87, 95, 110, 122, Our Lady of Good Voyage Church
  • Rackliff St.: 11
  • Revere St.: 9, 90
  • Riggs Point Road: Old Riggs House
  • River Road: 1, 22, 28
  • Summer St.: 29, 42
  • Walnut St.: 4
  • Washington St.: 3, American Legion Hall, 160, 163, 166, 179, 245, White Ellery House, 303, 372, 433, 490, 508, 525, 546, 726, 827, 828, Annisquam Village Church, 840, 846, 854, 974, 1018, 1061, 1107A, 1133, Lanesville Congregational Church, 1238, 1261, 1273
  • Western Ave.: 1, 15, 53, 349, 359, 197
  • Winchester Court: 2, 115
  • Wonson St.: 2, 24

Edward Hopper sketched Columbia likely in Gloucester in 1923, and the Britannia

Edward Hopper’s sketch of the fast schooner Columbia was completed in Gloucester in 1923 or later: Columbia was built in Essex and launched in 1923. The Hopper drawing annotated ‘Britania’ is a misspelling. The Prince of Wales (future King Edward) commissioned the racing yacht (a cutter) Britannia in 1892. The racer was retooled several times.

Hopper traveled in the UK and Gloucester. It’s likely he saw Columbia in person in 1923 or on later Gloucester visits. If not he saw both boats reproduced in print and in the news. Gorgeous yacht and race photography was popular and circulated widely especially as marine photography advanced.

For Britannia, see British photographers, Alfred Beken and his son, Frank, who settled and worked in Cowes on the Isle of Wight from 1888 on.

For the fishing schooner Columbia see Boston photojournalist, Leslie Jones, collection Boston Public Library.

After 1923, news in the the 1920s: Britannia was racing regularly and Columbia and her crew disappeared in 1927.

Continue here for more Hopper boats in Gloucester.

Columbia in vintage photography

Incomparable American photographer and boat fanatic–as much as Hopper–Boston based photojournalist, Leslie Jones

Britannia in vintage photography

Images: Edward Hopper, Columbia, 1923. Whitney Museum. (Choppy and clouds- possibly sketched while here in Gloucester); Edward Hopper, Britania (sic), date unknown conjectured juvenalia, however he sketched yachts and boats from his youth on. Whoever annotated the sketch misspelled the boat. [Collection Whitney Museum of American Art]

Image: 1851. Fitz Henry Lane. The Yacht “America” Winning the International Race. Peabody Essex Museum.

Image: 2023. Columbia in Gloucester Harbor: (will add in soon)

A replica of Columbia launched in 2014 is a showstopper at the Schooner Festival in Gloucester, MA. see easternshipbuilding.com

Winslow Homer mural on Maplewood & Poplar. Was Linsky’s now Cape Ann Auction #GloucesterMA

There’s a new Winslow Homer mural at the bend of Maplewood and Poplar on the former Linsky’s service station property, Cape Ann Auction headquarters since November 2022.

159 Maplewood Avenue, Gloucester, Mass. Read more about this Studio fresh mural project inspired by Homer’s works here (Awesome Gloucester).

Both Breezing Up (A Fair Wind) and The Flirt depict figures in a cat boat in Gloucester harbor.

Image: Winslow Homer (1836-1910), The Flirt, 1874, oil on panel, National Gallery of Art acquisition, 2014 (Mellon collection)

Image: Winslow Homer, Breezing Up (A Fair Wind), 1873-1876, oil on canvas. National Gallery of Art acquisition (Wildenstein Gallery), 1943. Gift of the W. L. and May T. Mellon Foundation.

The Winslow Homer marker on the corner of Dale Ave & Main for Gloucester’s HarborWalk features Breezing Up (A Fair Wind) thanks to permission from the National Gallery of Art.

GLOUCESTER PUBLIC ART | MURAL MAP HERE

Was Lassie on Edward Hopper’s mind in 1939, too?

Illustrations: The short story, Lassie Come-Home by Edward Knight with illustrations by Arthur D. Fuller*, was an instant must-read-and-share when it was first published in the popular magazine, The Saturday Evening Post on December 17, 1938. Edward Hopper painted Cape Cod, Evening in 1939. *The illustrator’s signature is tough to read without the credit beneath the byline. (Scroll down to see and read the story pages or to print a PDF. It’s a great read!)

You may know the memorable and unbreakable bond of the boy and his dog which Lassie Come-Home describes, and the small and epic journeys.

The short story, Lassie Come-Home by Edward Knight with illustrations by Arthur D. Fuller, was an instant must-read-and-share when it was first published in the popular magazine, The Saturday Evening Post on December 17, 1938.

Edward Hopper painted Cape Cod, Evening in 1939.

The short story is set in England and opens with a small family of three in recurring and searing pain: Two parents who have fallen on hard times and are under great emotional strain struggle to comfort their only child because they sold the family dog. Their beautiful collie, “Lassie”, is so devoted to their son, the dog runs away from the new owner straight back to the boy over and over again. Under the circumstances, any and every solution is untenable. His parents’ misplaced anger, adult exchanges, and silence confuse the boy. Their anguish and love is palpable.

Out of desperation, Lassie is removed to Scotland which they believe will be an insurmountable distance to cover.

It’s not. And no wonder a legend is born!

The first Lassie novel was published in 1940. Swift adaptations followed. It’s easy to see how the story resonated with American audiences during the Great Depression, even perhaps the great American artist, Edward Hopper.

If not Lassie herself, it’s tempting to consider the intergenerational communication and couple dynamics explored in Knight’s story as themes Hopper noticed, too.

“…Then they heard his opening of the door and the voice stopped and the cottage was silent. That’s how it was now, the boy thought. They stopped talking in front of you. And this, somehow, was too much for him to bear. He closed the door, ran out into the night, and onto the moor, that great flat expanse of land where all the people of that village walked in lonesomeness when life and its troubles seemed past bearing…”

Lassie Come-Home, Edward Knight, The Saturday Evening Post, 1938 Dec. 17

Both used punctuation in titles. Knight offset the story’s title with a vital hyphen, Lassie Come-Home (command-comfort) that might have caught Hopper’s attention. Hopper used commas often for emphasis–as in Cape Cod, Evening.

Beyond the Great Depression, 1938 may have appeared especially distant, simpler, on first pass. Yet, with international tensions rising year by year and the horrors of WWI just a generation past, neither 1938 nor 1939 were simple. Jan Struther, another UK author, broached topics of peacetime, lengthy stasis, and looming loss in the popular Mrs. Miniver pieces, published in The Times London newspaper (1937-39 ), at the same times as Lassie. Reader’s Digest distribution was international beginning in 1938.

In Cape Cod, Evening 1939, Hopper’s dog reacts, hears something, like a whippoorwill, or so the story goes. (Lloyd Goodrich’s Hopper bio, 1971; also Gail Levin, 1995) Levin’s book takes time to introduce the reader to Hoppers’ friends, and so we understand the grief from the loss of their friend Harriet Jenness who died “in early July of 1939. It was she who had firmed up the Hoppers’ courage to build in the first place and provided a roof till theirs was done.” (Levin, 1995.)

Cape Cod, Evening is constantly changing because it’s laden with enigmatic motifs. It’s late summer and fall. Unsettling and calm. Are the man and woman taking a momentary break together (as with the son and father walking in the Lassie story) or engaged in a forced desist (as with the parents going silent in the Lassie story)? Active fight or passive summer ennui? And what about that evergreen Hopper forest at the edge? Is it a cool and reachable retreat? Are the trees leaning, falling? Is the sea of dry grass sunlit and waving or scorched and still? And why no path? The man and woman are lost in thought. Worried? Families will have to have difficult conversations. Some won’t return. And what about the significance of that star dog with the striking fur?

Hopper was 35 at the onset of WWI, registered, but not called for duty. He was 57 in 1939.

1939

Edward Hopper paintings dated 1939: Bridle Path (Bruce Museum of Art, CT), Ground Swell ( NGA collection), Cape Cod, Evening (NGA collection), and New York Movie (MoMa). As a group, they make a strong case that Hopper was thinking about 1939 in 1939.

World War Two

Edward Hopper and Jo Hopper were on the Cape when war broke out.

On August 29, 1939, friends dropped by their summer home in Truro and Jo Hopper noted in her diary how the woman said, “…She’d been to England last week. Said they all prepared for war—everyone has his funkhole ready for an air raid.” On August 30 she added “E.” went to town on errands and picked up a magazine:

“Augu. 30. Still raining. After lunch E. went to P.O. & bought back kerosene, Readers Dig, postcard from Ginny at fair + the note from D R.—to see us Sept. 18 at 11. Onion soup & banana salad for lunch & tummy ache over dishes. E. so tired. Standing up at canvas. Canvas seems standing still. But I’ve seen that happen before…”

Josephine N. Hopper, Aug. 30, 1929 diary page. Provincetown Art Museum Collection, 2016. “Donation by Laurence C. and J. Anton Schiffenhaus in honor of their mother Mary Schiffenhaus (a close and personal friend of Josephine and Edward Hopper)”

On September 1, 1939 Germany invaded Poland, and England and France declared war on Germany just two days later.

On September 3, Jo mentions art and war :

“…E’s 2 canvases*. Sailboat without sky as yet. Tonight Bertha Frank & Edgar Cobb came up to say good bye for the season. Everyone else in Truro had their supper dishes washed—but we hadn’t begun yet. E. was still working when they arrived. He’s been plenty interrupted today. We didn’t swim—it looked so cold. Ginny said not cold but very dirty + water full of pink jelly fish.

So war is declared today & yesterday we saw that over into Poland. E. had a Times yesterday & we saw that. How Nat. news dwarfs everything. Why Pittsburgh festivities. Why anything. E. said he could drive an ambulance. I hope not. We most of everything need to get well…”

Josephine N. Hopper, Sept. 3, 1939. *Ground Swell and Cape Cod, Evening

star dogs

Examples of dogs in famous visual arts and letters abound before Lassie. During WWI, the soon to be famous german shepherd puppy Rin Tin Tin was rescued from the battlefield by Lee Duncan, and brought back to the United States. He was trained exceptionally well then on a hunch for the Silent Movie era. The original Rin Tin Tin’s first Hollywood movie was a bit part in 1922. He starred in so many box office hits, when he died in 1932 his death ‘stopped the presses’. Generations of Rin Tin Tin descendents followed, representing his public legacy if not his agility and acting chops. Other shepherds were used in later vehicles. For more about Rin Tin Tin’s global fame and impact and Duncan’s life–he did not trademark the name– see Susan Orleans biography, Rin Tin Tin: The Life and the Legend. (Also her short piece The Dog Star, New Yorker, Aug. 2011 and a preview excerpt NY Times Oct. 2011.) I doubt Hopper would add a German Shepherd in a 1939 painting.

And before Rin Tin Tin? There would be no Dorothy without Toto. Frank Baum wrote the The Wizard of Oz in 1900. The production of the movie adaptation made news ahead of its release August 29th, 1939. (It failed to earn a profit until re-releases decades later.)

Jack London’s Buck in The Call of the Wild debuted in 1903.


The Whitney Museum holds an early portrait drawing by Edward Hopper (1882-1967) of a contented dog–framed in a doghouse door naturally–dated 1893.

Edward Hopper Cape Cod, Evening 1939 was acquired by the National Gallery of Art in 1982.

Beach Grass, architecture, Color, composition, And…

I think about Wyeth and Chase a lot when I look at Hopper’s Cape Cod, Evening. Same when I encounter any one of the three.

Wyeth

A decade after Cape Cod, Evening, American artist and fan of Hopper, Andrew Wyeth, completed Christina’s World, 1948 (Museum of Modern Art, New York).

William Merritt Chase

Dry grass dunes and vegetation in the Hamptons on Long Island by American artist William Merritt Chase, art world famous in his day, and one of Hopper’s esteemed fine art professors. Photos: C. Ryan. Installation views from the William Merritt Chase exhibition at the MFA in 2017. Shinnecock Hills of Southampton seen in two works: Bayberry Bush 1895 (Parrish Art Museum) and Seaside Flowers (Crystal Bridges) The photo with the supercharged green is how it’s often depicted, but not how I experience this Chase series in person. (Chase painted a bevy of great dogs in other works.)

The Saturday Evening Post

The Saturday Evening Post’s tag line “Founded 1728 by Benj. Franklin”

Select to enlarge pages and pinch or zoom. PDF below. Lassie Come-Home by Edward Knight with illustrations by Arthur D. Fuller. The Saturday Evening Post. December 17, 1938

The issue also featured a Norman Rockwell on the cover, a serialized Agatha Christie installment, an investigative long read about universal healthcare– illustrated with a Farm Security Administration (FSA) photograph by Arthur Rothstein in Arkansas, circa 1935–and several classic ads. New Yorkers Jo and Ed Hopper did not eat at home much, and when they did…beans were a big draw. The prominent full page color Heinz ad was on the inside cover of this issue. I do not know the illustrator of the Gulfpride Oil ad, but it’s great. For more information about the FSA and Arthur Rothstein with a timeline continue reading here ; for more about Roy Stryker & the origins of the FSA and Gordon Parks continue reading here; and for more about the FSA and Howard Liberman continue reading here.


-by Catherine Ryan

cryanaid.com Edward Hopper All Around Gloucester

**First published 8/26/2023 on the occasion of National Dog Day. August 26 is International Dog Day. **

Was Lassie on Edward Hopper’s mind in 1939?

**August 26 is International Dog Day**

Illustrations: The short story, Lassie Come-Home by Edward Knight with illustrations by Arthur D. Fuller*, was an instant must-read-and-share when it was first published in the popular magazine, The Saturday Evening Post on December 17, 1938. Edward Hopper painted Cape Cod, Evening in 1939. *The illustrator’s signature is tough to read without the credit beneath the byline. (Scroll down to see and read the story pages or to print a PDF. It’s a great read!)

You may know the memorable and unbreakable bond of the boy and his dog which Lassie Come-Home describes, and the small and epic journeys.

The short story, Lassie Come-Home by Edward Knight with illustrations by Arthur D. Fuller, was an instant must-read-and-share when it was first published in the popular magazine, The Saturday Evening Post on December 17, 1938.

Edward Hopper painted Cape Cod, Evening in 1939.

The short story is set in England and opens with a small family of three in recurring and searing pain: Two parents who have fallen on hard times and are under great emotional strain struggle to comfort their only child because they sold the family dog. Their beautiful collie, “Lassie”, is so devoted to their son, the dog runs away from the new owner straight back to the boy over and over again. Under the circumstances, any and every solution is untenable. His parents’ misplaced anger, adult exchanges, and silence confuse the boy. Their anguish and love is palpable.

Out of desperation, Lassie is removed to Scotland which they believe will be an insurmountable distance to cover.

It’s not. And no wonder a legend is born!

The first Lassie novel was published in 1940. Swift adaptations followed. It’s easy to see how the story resonated with American audiences during the Great Depression, even perhaps the great American artist, Edward Hopper.

If not Lassie herself, it’s tempting to consider the intergenerational communication and couple dynamics explored in Knight’s story as themes Hopper noticed, too.

“…Then they heard his opening of the door and the voice stopped and the cottage was silent. That’s how it was now, the boy thought. They stopped talking in front of you. And this, somehow, was too much for him to bear. He closed the door, ran out into the night, and onto the moor, that great flat expanse of land where all the people of that village walked in lonesomeness when life and its troubles seemed past bearing…”

Lassie Come-Home, Edward Knight, The Saturday Evening Post, 1938 Dec. 17

Both used punctuation in titles. Knight offset the story’s title with a vital hyphen, Lassie Come-Home (command-comfort) that might have caught Hopper’s attention. Hopper used commas often for emphasis–as in Cape Cod, Evening.

Beyond the Great Depression, 1938 may have appeared especially distant, simpler, on first pass. Yet, with international tensions rising year by year and the horrors of WWI just a generation past, neither 1938 nor 1939 were simple. Jan Struther, another UK author, broached topics of peacetime, lengthy stasis, and looming loss in the popular Mrs. Miniver pieces, published in The Times London newspaper (1937-39 ), at the same times as Lassie. Reader’s Digest distribution was international beginning in 1938.

In Cape Cod, Evening 1939, Hopper’s dog reacts, hears something, like a whippoorwill, or so the story goes. (Lloyd Goodrich’s Hopper bio, 1971; also Gail Levin, 1995) Levin’s book takes time to introduce the reader to Hoppers’ friends, and so we understand the grief from the loss of their friend Harriet Jenness who died “in early July of 1939. It was she who had firmed up the Hoppers’ courage to build in the first place and provided a roof till theirs was done.” (Levin, 1995.)

Cape Cod, Evening is constantly changing because it’s laden with enigmatic motifs. It’s late summer and fall. Unsettling and calm. Are the man and woman taking a momentary break together (as with the son and father walking in the Lassie story) or engaged in a forced desist (as with the parents going silent in the Lassie story)? Active fight or passive summer ennui? And what about that evergreen Hopper forest at the edge? Is it a cool and reachable retreat? Are the trees leaning, falling? Is the sea of dry grass sunlit and waving or scorched and still? And why no path? The man and woman are lost in thought. Worried? Families will have to have difficult conversations. Some won’t return. And what about the significance of that star dog with the striking fur?

Hopper was 35 at the onset of WWI, registered, but not called for duty. He was 57 in 1939.

1939

Edward Hopper paintings dated 1939: Bridle Path (Bruce Museum of Art, CT), Ground Swell ( NGA collection), Cape Cod, Evening (NGA collection), and New York Movie (MoMa)

As a group, they make a strong case that Hopper was thinking about 1939 in 1939.

Edward Hopper and Jo Hopper were on the Cape when war broke out.

On August 29, 1939, friends dropped by their summer home in Truro and Jo Hopper noted in her diary how the woman said, “…She’d been to England last week. Said they all prepared for way—everyone has his funkhole ready for an air raid.” On August 30 she added “E.” went to town on errands and picked up a magazine:

“Augu. 30. Still raining. After lunch E. went to P.O. & bought back kerosene, Readers Dig, postcard from Ginny at fair + the note from D R.—to see us Sept. 18 at 11. Onion soup & banana salad for lunch & tummy ache over dishes. E. so tired. Standing up at canvas. Canvas seems standing still. But I’ve seen that happen before…”

Josephine N. Hopper, Aug. 30, 1929 diary page. Provincetown Art Museum Collection, 2016. “Donation by Laurence C. and J. Anton Schiffenhaus in honor of their mother Mary Schiffenhaus (a close and personal friend of Josephine and Edward Hopper)”

On September 1, 1939 Germany invaded Poland, and England and France declared war on Germany just two days later.

On September 3, Jo mentions art and war :

“…E’s 2 canvases*. Sailboat without sky as yet. Tonight Bertha Frank & Edgar Cobb came up to say good bye for the season. Everyone else in Truro had their supper dishes washed—but we hadn’t begun yet. E. was still working when they arrived. He’s been plenty interrupted today. We didn’t swim—it looked so cold. Ginny said not cold but very dirty + water full of pink jelly fish.

So war is declared today & yesterday we saw that over into Poland. E. had a Times yesterday & we saw that. How Nat. news dwarfs everything. Why Pittsburgh festivities. Why anything. E. said he could drive an ambulance. I hope not. We most of everything need to get well…”

Josephine N. Hopper, Sept. 3, 1939. *Ground Swell and Cape Cod, Evening

star dogs

Examples of dogs in famous visual arts and letters abound before Lassie. During WWI, the soon to be famous german shepherd puppy Rin Tin Tin was rescued from the battlefield by Lee Duncan, and brought back to the United States. He was trained exceptionally well then on a hunch for the Silent Movie era. The original Rin Tin Tin’s first Hollywood movie was a bit part in 1922. He starred in so many box office hits, when he died in 1932 his death ‘stopped the presses’. Generations of Rin Tin Tin descendents followed, representing his public legacy if not his agility and acting chops. Other shepherds were used in later vehicles. For more about Rin Tin Tin’s global fame and impact and Duncan’s life–he did not trademark the name– see Susan Orleans biography, Rin Tin Tin: The Life and the Legend. (Also her short piece The Dog Star, New Yorker, Aug. 2011 and a preview excerpt NY Times Oct. 2011.)

And before Rin Tin Tin? There would be no Dorothy without Toto. Frank Baum wrote the The Wizard of Oz in 1900. The production of the movie adaptation made news and was released August 29th, 1939. It failed to earn a profit until re-releases decades later.

Jack London’s Buck in The Call of the Wild debuted in 1903.


The Whitney Museum holds an early portrait drawing by Hopper of a contented dog–framed in a doghouse door naturally–dated 1893.

Edward Hopper Cape Cod, Evening 1939 was acquired by the National Gallery of Art in 1982.

Beach Grass, architecture, Color, composition, And…

I think about Wyeth and Chase a lot when I look at Hopper’s Cape Cod, Evening. Same when I encounter any one of the three.

Wyeth

A decade after Cape Cod, Evening, American artist and fan of Hopper, Andrew Wyeth, completed Christina’s World, 1948 (Museum of Modern Art, New York).

William Merritt Chase

Dry grass dunes and vegetation in the Hamptons on Long Island by American artist William Merritt Chase, art world famous in his day, and one of Hopper’s esteemed fine art professors. Photos: C. Ryan. Installation views from the William Merritt Chase exhibition at the MFA in 2017. Shinnecock Hills of Southampton seen in two works: Bayberry Bush 1895 (Parrish Art Museum) and Seaside Flowers (Crystal Bridges) The photo with the supercharged green is how it’s often depicted, but not how I experience this Chase series in person. (Chase painted a bevy of great dogs in other works.)

The Saturday Evening Post

The Saturday Evening Post’s tag line “Founded 1728 by Benj. Franklin”

Select to enlarge pages and pinch or zoom. PDF below. Lassie Come-Home by Edward Knight with illustrations by Arthur D. Fuller. The Saturday Evening Post. December 17, 1938

The issue also featured a Norman Rockwell on the cover, a serialized Agatha Christie installment, an investigative long read about universal healthcare– illustrated with a Farm Security Administration (FSA) photograph by Arthur Rothstein in Arkansas, circa 1935–and several classic ads. New Yorkers Jo and Ed Hopper did not eat at home much, and when they did…beans were a big draw. The prominent full page color Heinz ad was on the inside cover of this issue. I do not know the illustrator of the Gulfpride Oil ad, but it’s great. For more information about the FSA and Arthur Rothstein with a timeline continue reading here ; for more about Roy Stryker & the origins of the FSA and Gordon Parks continue reading here; and for more about the FSA and Howard Liberman continue reading here.


-by Catherine Ryan

cryanaid.com Edward Hopper All Around Gloucester

**First published 8/26/2023 on the occasion of National Dog Day. August 26 is International Dog Day. **

Summer twinkle: Blue sky, paper lanterns and some enchanted evenings. Fireworks. Rockport Illumination 2023

Reminder! Rockport’s annual Illumination is Saturday, August 12, 2023. 9pm Fireworks. Flyer below.

photos: paper lanterns downtown Rockport, Senior Center, Post Office, Library, storefronts, porches, Dock Square

As pretty as a picture! Perhaps Rockport Art Assoc and Cape Ann Museum can hang a selection to time with the annual Rockport Illumination (from their collections and new work by living artists responding to the art, illumination, and the summer celebration).

White House Art: Fitz Henry Lane and William Ranney paintings in President Biden’s Selfie in the Blue Room

July 31, 2023

The Blue Room (reception site)

President Joe Biden takes a selfie with mental health youth action forum participants. Official White House photograph by Adam Schultz. “We’ve invested $1 billion to help schools hire and train 14,000 new mental health counselors in schools across the country. We’re also taking steps to address the harm social media is doing to young people and hold these platforms accountable.” July 31, 2023

Fitz Henry Lane (1804-1865). Boston Harbor. 1854. Oil on canvas. Gift of the Wassermans, 1963. (Provenance: via Kennedy Galleries)

William Ranney (1813–1857). Boys Crabbing. 1855. Oil on canvas. Provenance: via Hirschl & Adler (added to the White House Collection in 1972)

Read more about the The Blue Room here by the White House Historical Assoc. and this short video tour:

photo: Fitz Henry Lane’s Boston Harbor at the MFA. David Cox. 2016

*I wrote about art at the White House in 2014 which was published here on GMG in 2015:

“What’s the best art inside the White House? No matter what is your artistic preference, Gloucester and the Commonwealth of Massachusetts could top the charts as the City and state with the best and most art ties featured at the White House. 

…How does the White House collection work? It is unusual for the White House to accept art by living artists. There are more than 450 works of art in the permanent collection. New art enters the collection after it’s vetted and is restricted to works created at least 25 years prior to the date of acquisition. For the public rooms, the Office of the Curator works with the White House advisory committee–the First Lady serves as the Honorary Chair–and the White House Historical Association. The private rooms are the domain of the First Family. Works of art from collectors, museums, and galleries can be requested for temporary loans and are returned at the end of the President’s final term. The Obamas have selected contemporary art, including abstract art, from the permanent collection, and borrowed work for their private quarters. Besides the Hopper paintings and John Alston’s Martin Luther King sculpture, they’ve selected art by *Anni Albers, *Josef Albers, Edgar Degas, Jasper Johns, Louise Nevelson, *Robert Rauschenberg, Edward Ruscha, and *Alma Thomas.” * indicates works that have been donated to the permanent collection.

Catherine Ryan, 2014

Power of May Stevens Shines in Exhibition at MassArt Art Museum

In celebration of Mass College of Art & Design 150th Anniversary, the MassArt Art Museum honors renown American artist, May Stevens, born in Massachusetts and raised in Quincy by the river and sea, a distinguished Massachusetts College of Art and Design alumna. She died in 2019 at the age of 95. From a body of painterly work spanning six decades, this show spotlights one of Stevens major figurative series and themes centered on three women: her mother, Alice, Rosa Luxemburg, and May herself. Vitrines with archival printed matter, personal documents and photos, and audio stations are thoughtfully interspersed, non intrusive yet vivid. May was as close as family to me. I was her dealer and lucky to speak with her daily for years. It is beautiful installation.

The gallery is open Friday-Sunday. The last chance to visit the May Stevens show is today and tomorrow. Hopefully there’ll be a future survey with another series or major retrospective soon.

http://www.cryanaid.com

You can take Hopper out of Nyack, but you can’t take Nyack out of Edward Hopper’s Art

Edward Hopper was born on this day July 22, 1882.

Edward Hopper in Nyack | Hudson River and Hook Mountain & Nyack Beach Loop, Palisades Park

American Artist Edward Hopper (1882-1967) was born and raised in Nyack, Rockland County, New York. The home he grew up in still stands because local stewards obtained its landmark status in the 1970s and eventually designation as an important historic house museum, The Edward Hopper House Museum & Research Center.

Hopper’s boyhood home on 82 North Broadway was perched on a rise with an unobstructed view downhill to the magnificent Hudson River with easy access to an active waterfront and smack dab in the middle of two worlds.

Stepping out the front door To the Right

To the right, it was a short walk to a cityscape: his father’s store, the train station, and all that was necessary for commerce in a bustling town at the turn of the century.

To the Left

To the left and surrounding streets nearby, it was a short walk to residential neighborhoods with a handsome array of American architectural styles common on the East Coast–but unique town by town.

photos above: Catherine Ryan. 718 North Broadway, Nyack | Edward Hopper. Seven AM. 1948. Whitney Museum

FURTHER LEFT to HOOK MOUNTAIN

Further on to the left (less than 5 miles) it was a quick trip by bike to a range of scenic landscapes: rural, farm and river view estates–until the last stop—the rugged wildness of Hook Mountain, a local icon (and historic landmark for navigation), part of the Palisades park system, with stunning cliff views.

In recent years trail advocates established a complete Hook Mountain and Nyack Beach loop that’s about six miles RT. It’s awesome.

HOPPER PULSE | HALLMARK HORIZONTAL COMPOSITION

We can traverse Nyack’s particular stretch of riverfront geography because North Broadway–on the street where Edward Hopper lived and returned to–bisects the terrain parallel to the river. No matter which direction one ambles, the reassuring view of the Hudson and distant riverbank stays fixed, stretching horizontally as far as the eye can see.

Westchester, Tarrytown across the river (and on a sunny day the Tarrytown lighthouse is visible)

Above: OAK HILL CEMETERY NYACK

Of all the places he resided or visited, he chose to be buried in Nyack. Turns out, you can’t take Hopper out of Nyack.

In Oak Hill Cemetery in Nyack, the grave of Edward Hopper and Jo Nivison are next to his parents and sister, high above the family home on North Broadway, with a view of the Hudson River and the unmistakable distant shore. And sited–fittingly for Hopper–on a corner, at a bend where paths converge.

American theater legend, Helen Hayes (Helen Hayes MacArthur, 1900-1993), owned a riverfront estate across the street and a few blocks down the road from the Hopper family home, humorously nicknamed ‘Pretty Penny’ (in the block of house photos above), and drawn resentfully by Hopper when Hayes commissioned a house portrait through his art dealer or so she wrote. (I may write more about that.) The painting was hung prominently and visible in publicity stills .

Hayes is buried in Nyack’s Oak Hill Cemetery further down Oak hill from the Hopper markers. There are four flat markers flush with the grass for her family. Sadly, her daughter died in 1949 at age 19 from polio before the vaccine.

The grave for American artist Joseph Cornell is located down and off to the right of Hayes.

Edward Hopper in Gloucester

Hopper’s impressions of Nyack are repeated in his art throughout his life.

For example, here are two pairs comparing Edward Hopper’s Gloucester works and Nyack.

Land across the Hudson | land across Gloucester Harbor–this is one way I identified Hopper’s site in Gloucester.

Hill down to the Hudson from a perpendicular street (North Broadway/his boyhood home) | Hill in Gloucester.

See http://www.cryanaid.com