The Andrew Wyeth works currently on display span the artist’s entire career, with some of his earliest works as well as some of his most recent. Included are watercolor, drybrush as well as tempera paintings.

The Farnsworth Art Museum has had a long-standing relationship with Andrew Wyeth. It was in 1944, four years before the Farnsworth even opened, that the museum purchased watercolors by the emerging young artist. In 1951, the museum, in collaboration with the Currier Gallery (now the Currier Museum of Art) in Manchester, New Hampshire, mounted Andrew Wyeth's first solo museum retrospective

Jamie Wyeth’s connection to Monhegan dates to the late 1950s, when he first went there with his father, and he has continued to paint there ever since. His connection to fellow artist Rockwell Kent goes back nearly as far. Early in his career Wyeth bought several pen and ink drawings by Kent used as the sources for his illustrations to Moby Dick, one of Kent’s most renowned book illustration projects. Subsequently, Wyeth acquired what was Kent’s last home and studio on Monehgan, and then bought several of Kent’s paintings from his first period on the island around 1907. This exhibition will focus on works by the two artists done on Monhegan, and how the scenic island has inspired their work.

Stories of the Land and Its People includes the work of over 140 students who participated in a year-long collaboration between the Farnsworth Art Museum and four public schools: Appleton, Hope, Lincolnville and Islesboro.
Education Project Manager Andrea Curtis will lead visitors through this exhibition during a 30-minute gallery tour.
Location: meet at the Farnsworth’s main entrance on Museum Street
Seating: limited to 20 people
Cost: free with admission
The Homestead Project exhibition, on view March 24 through September 23, features the designs of ten architectural and architectural design firms that have been charged with creating a theoretical home for a growing family in 2012, loosely modeled on the Farnsworths of 1849: a successful businessman, his wife and three young children. Balancing elements of privacy with public exposure for a home situated in 2012 on what is now the Farnsworth Art Museum campus, architects, designers and their teams have designed a new imaginary “Farnsworth Homestead” on the current site, taking into consideration the surrounding museum block and current zoning codes. Chief Curator Michael K. Komanecky will lead visitors through this dynamic and multi-faceted exhibition during a 30-minute gallery tour.
For the fifth year in a row, the Farnsworth Forum will host one of America’s leading public intellectuals who will give his views on the state of the art world. This year we are proud to announce Adam Gopnik, writer for The New Yorker since 1986. Over the years, Adam Gopnik has come to be known as one of the preeminent, wittiest, and most charming interpreters of contemporary life writing today.
The Art of the Book, organized by Farnsworth Registrar Angela Waldron, is the first ever exploration of the museum’s diverse collection of nineteenth- and twentieth- century rare, first edition, and out-of-print illustrated books ranging from the earliest museum purchases in the 1940’s to important donations made throughout the museum’s history. With a few exceptions, the show is drawn entirely from the collection and features a selection of first-edition classics such as Legends of Charlemagne by Thomas Bullfinch, Drawings by C. D. Gibson, Poems of Childhood by Maxfield Parrish, and The Wonder Clock by Howard Pyle.
In honor of the exhibition Jamie Wyeth, Rockwell Kent, and Monhegan on view in the Wyeth Center, May 12 to January 6, scholar Elizabeth Spear will discuss Rockwell Kent's illustrations for Moby Dick and his work on Monhegan Island. Kent was generally considered the most important American book illustrator of the 1920s and 30s, gracing such works as Candide, Moby Dick, and The Canterbury Tales.
In light of the exhibition Jamie Wyeth, Rockwell Kent, and Monhegan, this lecture will look at one of Kent’s contemporaries, George Bellows. Both Kent and Bellows were students of Robert Henri, who introduced them to Monhegan Island. Unlike Kent, who rarely painted urban scenes, Bellow’s early paintings of New York celebrated the city’s bigness and boldness. This lecture will look at a number of Bellows’ urban themes, why his paintings were acclaimed by conservatives, progressives, and radicals alike, and will also explore his engagement with the sea following his visit to Monhegan Island with Robert Henri.