Lecture

Jonathan Fisher (1768-1847), resident Congregational minister in Blue Hill, Maine was writer, linguist, inventor, architect, surveyor, farmer, pastor, naturalist, artist-and traveler. His drawings of animals were developed as finely worked engravings in boxwood over a period of several years, resulting in the completed work, Scripture Animals, Or Natural History of the Living Creatures Named in the Bible which is the focus of the exhibition, A Wondrous Journey: Jonathan Fisher and the Making of Scripture Animals (on view starting March 23 in the Craig Gallery).
 
Lecture Three—Print on the Maine Frontier: Jonathan Fisher and the Early Republic
Jonathan Fisher (1768-1847), resident Congregational minister in Blue Hill, Maine was writer, linguist, inventor, architect, surveyor, farmer, pastor, naturalist, artist-and traveler. His drawings of animals were developed as finely worked engravings in boxwood over a period of several years, resulting in the completed work, Scripture Animals, Or Natural History of the Living Creatures Named in the Bible which is the focus of the exhibition, A Wondrous Journey: Jonathan Fisher and the Making of Scripture Animals (on view starting March 23 in the Craig Gallery).
 
Lecture Two—The Making of Scripture Animals
These two illustrated lectures will provide an in depth look into works recently acquired by the museum, which are currently a part of the Recent Acquisitions exhibition (on view through March 10). Important American modernists, Marguerite Zorach, William Zorach, and Georgia O’Keeffe, were all born in 1880s and became significant artistic figures in the twentieth century—inspired as they were by nature and by the feminine.
 
Lecture Two—The Early Drawings of Georgia O’Keeffe
Wednesday, March 6, 2 p.m.
This richly illustrated lecture will provide context for the work of Ellen Berkenblit, Juan Gomez, and Julian Opie—three artists featured in the Other Voices exhibition (on view in the Nevelson Gallery through Feb. 2). Art writer and independent curator Britta Konau will address the significance of these three artists in the larger contemporary art world and their unique explorations of the human figure. At various stages of their careers and utilizing artistic styles that differ widely, their figurative exploration is deeply informed by past art as well as contemporary popular culture.
 
Lecturer Britta Konau is an independent art critic, writer, and curator.
Location: Farnsworth auditorium
Jonathan Fisher (1768-1847), resident Congregational minister in Blue Hill, Maine was writer, linguist, inventor, architect, surveyor, farmer, pastor, naturalist, artist-and traveler. His drawings of animals were developed as finely worked engravings in boxwood over a period of several years, resulting in the completed work, Scripture Animals, Or Natural History of the Living Creatures Named in the Bible which is the focus of the exhibition, A Wondrous Journey: Jonathan Fisher and the Making of Scripture Animals (on view starting March 23 in the Craig Gallery).
 
Lecture One—Painting Blue Hill: Morality and the Natural World
These two illustrated lectures will provide an in depth look into works recently acquired by the museum, which are currently a part of the Recent Acquisitions exhibition (on view through March 10). Important American modernists, Marguerite Zorach, William Zorach, and Georgia O’Keeffe, were all born in 1880s and became significant artistic figures in the twentieth century—inspired as they were by nature and by the feminine.
 
Lecture One—Marguerite & William Zorach
Wednesday, February 27, 2 p.m.
Assistant Curator Jane Biano and Wiebke and Steven Theodore of Theodore + Theodore Architects, Arrowsic, Maine, will lead visitors through this dynamic and multi-faceted exhibition during a 30-minute gallery tour.
The design of an urban contemporary house is the underlying concept behind the Homestead Project, on display in the Farnsworth’s Crosman Gallery. The ten architectural and architectural design firms participating have been asked to present their designs for a theoretical house on the same lot as the existing Homestead, one that would meet the needs of an imaginary twenty-first century Farnsworth family.
The participating architects & architectural designers are:
This special illustrated talk by Assistant Curator Jane Bianco will commemorate the 150th anniversary of the Battle of Antietam, a critical Civil War battle that involved troops from Maine. Bianco will present a commentary on the artist James Hope and his prtrayal of Maine's role in the battle, a version of which is currently on view in the museum's Rothschild Gallery.

This lecture is free with museum admission. As seating is limited, reservations are recommended. Please call the Education Department at 207-596-0949.

 
This lecture will examine the entirety of Frank W. Benson's distinguished career, with emphasis on his use of light, placing him in the front ranks of American Impressionists. Linked with Childe Hassam, John H. Twacthman and J. Alden Weir in The Ten American Painters, Benson helped enhance the popularity of the new style. This lecture will trace Benson's origins in Salem, MA, to his studies and later long teaching stint at the School of the Museum of Fine Arts Boston, his learning sojourn in France, and his glorious sun filled art on North Haven on view in the museum. Benson's affinities with Vermeer and Sargent in portraiture, with Winslow Homer in seascapes, and his long record of achievements in watercolor and etching, will also be explored.
This illustrated lecture will examine the confluence of French and American Impressionism, particularly the phenomenon of American artists studying and working abroad. The French Impressionist movement had barely established itself before a number of Americans in France were strongly influenced by its freshness, its technique, and especially its emphasis on plein-air painting and non-traditional subject matter. The lecture will consider some of the many Americans who learned from their French counterparts, discussing both the similarities with French Impressionism and the differences, asking the question: what is American about American Impressionism?