Louise Nevelson grew up in Rockland, Maine, but lived and worked in New York City as one of America’s foremost twentieth-century sculptors. She was among the many remarkable artists whose studio work has integrated with their everyday surroundings. Whether creating sculptural environments for gallery or civic spaces or within her personal realm hers was a unique artistic vision that will be explored in this talk on the art environments Nevelson created during the height of her career.
This talk and tour will be led by Assistant Curator Jane Bianco.

The Farnsworth Art Museum began collecting works by Old Town, Maine artist Bernard (“Blackie”) Langlais (1921-1977) in 1980 with the acquisition of Elephant, a charming painted plywood rendition of an elephant. Since then, the Farnsworth has acquired an additional six works, including two paintings, all but one representing animals. Known for his whimsical, lyrical animal sculptures and reliefs, Langlais’ output was prodigious and is represented in museum and private collections worldwide. After a fruitful career in New York City, Langlais returned to his home state and settled in Cushing, Maine in 1956, where he began experimenting with wood sculpture and other wood constructions, and lived out the rest of his life with his wife Helen and a menagerie of outdoor and indoor sculpture.
Lucy Trask Barnard of Dixville Center, Maine, was a prolific quilter and rug hooker, three of whose rugs are in The Metropolitan Museum of Art in New York City. In 2012, the Farnsworth acquired one of her rugs which had descended through her family. Jane Bianco will talk about Barnard’s life and work, and specifically the museum’s new acquisition.
This talk and tour will be led by Assistant Curator Jane Bianco
Locally, Fitzgerald is best known as a Monhegan artist, having been introduced to the famed Maine island artist’s retreat in the summer of 1924 where he joined the ranks of an elite group of artists including Rockwell Kent, Robert Henri, and George Bellows.  Fitzgerald drew inspiration from the island’s great natural beauty and the hardworking local fishing community, resulting in a significant body of work completed during his twenty-eight years there. His iconic painting, Torchin’, Monhegan, Maine will be the topic of discussion along with other related works depicting the local fishing industry.
This talk and tour will be led by Registrar Angela Waldron
Barry Faulkner’s 1923 folding screen depicting his friend and fellow artist Paul Manship and their wives traveling in the wine country of France during Prohibition is one of many folding screens done by American artists in the early twentieth century.  Thomas Hart Benton, Jay Van Everen, Louis Comfort Tiffany, Charles Prendergast, Donald Deskey and many others experimented with this format, and this presentation will explore Faulkner’s work in this larger context.
This talk and tour will be led my Chief Curator Michael K. Komanecky

This two-part, illustrated lecture series will explore European and American paintings that have altered the course of not only of art, but also world history. Although many paintings could be put forward as important or the best of an artist’s career, each of the four paintings chosen for this series had transformational influences on the artists that came after and on events beyond the art world, itself. Farnsworth’s Director of Education Roger Dell will focus in detail on the creation of the paintings, as well as their formal elements, social history, and influence on fellow and future artists’ work. Moreover, the place of the paintings in their broad cultural context and their impact on historical and political events in the West and around the world will be explored.
This lecture explores the visual strategies employed by illustrators like N. C. Wyeth, Maxfield Parrish, and Norman Rockwell to transport viewers-into the adventure of a story, for example, or to the store to buy a product. By considering their techniques in relation to the advertising trade literature that emerged in the early-twentieth-century and period theories of the workings of the imagination, the lecture demonstrates the complexity of commercial imagery in these years, whether story illustration, magazine cover, or product advertisement.