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?
Napoleon III almost completely dismantled Paris during the middle years of the nineteenth century, only to rebuild it as the first modern metropolis. Artists such as Monet, Pissarro, Renoir and Cezanne rushed to the emerging urban giant to depict the energy and confusion of the new social order. This lecture will focus on how Impressionism rose from Realism, and how artists had different—and at times contradictory—perspectives on this new way of painting. The younger artists who followed in the wake of these artistic advances, known as Post-Impressionists, will be briefly discussed: Van Gogh, Seurat, and Gaugin. 
Lecture by Director of Education Roger Dell.
In 1925, no one in New York City was more surprised than Murdock Pemberton—a newspaper reporter, Broadway publicist, playwright, and poet with no formal training in art or connoisseurship—when an upstart magazine, The New Yorker, named him its first art critic. Exposés of the Metropolitan Museum of Art, collector Andrew Mellon, and “plush-hung” commercial galleries—written for The New Yorker and other national publications—thrust Mr. Pemberton into the limelight as a David among the philistines, his favorite role.
This three-part lecture series will supply additional background information for the current exhibition Impressionist Summers: Frank W. Benson’s North Haven. The series will begin with an examination of the orgins of French Impressionism in mid-nineteenth-century Paris. The next lecture will be an overview of American Impressionism, illustrating its similarities and differences with the French. Lastly, Frank W. Benson’s entire career will be surveyed, with special attention paid to the periods when he was away from North Haven. This lecture series will take place in the Farnsworth auditorium.
As a young Union officer Justice Oliver Wendell Holmes, Jr. experienced the violent conflict of the Civil War and was wounded three times. In the following decade he studied law and discussed philosophy with the formative American pragmatists William James, Charles Peirce and other members of the informal "Metaphysical Club" of Cambridge. This lecture will explore the influence of the Civil War on Holmes' philosophy of law and judicial career, and its relation to American pragmatism.
Lecturer Frederic R. Kellogg attended Harvard Law School and has a doctorate in Jurisprudence from George Washington.