Eric Hudson, “Under Dark Sky,” n.d. Oil on canvas. Hudson went to sea with his oils, and his ocean looms, rough and dangerous.
Cape Ann and Monhegan Island, two rocky outcroppings into the Atlantic Ocean, share more than granite and rough weather.
Both long-time summer art colonies claim early-century painters like Aldro Hibbard, Emile Gruppé, Margaret Patterson and Theresa Bernstein. And Charles Movalli, Donald Stone, Paul Strisik and Donald Mosher, from a following generation.
An exhibition at Gloucester’s Cape Ann Museum, “Cape Ann & Monhegan Island Vistas,” shows classic examples from dozens of artists who painted at both seaports. On view through February 2022, the exhibition is a collaboration between CAM and the Monhegan Museum of Art and History.
Since the late 1800s artists have come to both islands to paint, drawn by the varying colors and quirky commerce of New England fishing towns. Visitors should expect as many styles as artists.
Keeping with the Monhegan Museum’s policy, only deceased artists were included. From the vast catalog of Aldro Hibbard (1886–1972) there is one of his classic winterscapes (“Motif #1, Rockport Harbor”), showing a deforested Pigeon Hill that looks like a misplaced ski resort.
James Fitzgerald (1899–1971) has two oils, including “At the Graveyard,” with its slanted, ghoulish allure. An oil by Olga Itasca Sears (1906–1990), “Trees Silhouetted,” has mystical energy.
Charles Movalli, “Marine Railways,” 2014. Acrylic on canvas. Movalli was one of several generation’s of artists who painted both in Monhegan and on Cape Ann.
Paul Strisik (1918–98) painted gorgeous oils, with examples from both locales included here. So did Charles Movalli (1945–2016) and Donald Mosher (1945–2014). Theresa Bernstein (1890–2002) has work in the exhibition, and in the museum entrance as well.
Throughout the museum, there are many unexpected aspects of familiar views, a tribute to more than a century of artistic exploration.
Adjoining galleries provide deeper explorations for two of the artists, Eric Hudson (1864–1932) and Stow Wengenroth (1906–1978). Hudson went to sea with his oils, and his seascapes have that unique perspective. His ocean looms, rough and dangerous. The fifteen paintings here, thickly applied oils with heavy colors and weighty outlines, remind equally of beauty and danger. Most of the paintings show Monhegan views, where his family subsequently helped found the Monhegan Museum.
Andrew Wyeth called Stow Wengenroth “the greatest black-and-white artist in America.” In any appraisal, he was among the premier lithographers of the past century. Wengenroth explored shadow and contrast, and his detailed work has meditative simplicity as well. This concise retrospective, which includes a 1977 video capturing some of Wengenroth’s personality, and drawings by contemporary artist Adin Murray as well, deserves a separate visit to the museum.
“Cape Ann & Monhegan Island Vistas” was curated by art historian James F. O’Gorman, whose accompanying catalog essay creates context for the prolific rise of art colonies in the post–Civil War era.
The exhibition, free with museum admission, runs through February, 2022. Visit capeannmuseum.org or call 978 283-0455.
Keith Powers covers music and the arts for Gannett New England, Leonore Overture and Opera News. Follow @PowersKeith; email to keithmichaelpowers@gmail.com.