Personal Perspective Landscapes and the Power of place

When I see a landscape depicted in an artwork I am immediately drawn into the world of the artist; standing in that field, climbing that mountain, or crossing that body of water. The ability of an artist to create a painting, etching, or photograph that can speak to a viewer is not an easy task whether realist, abstract, or documentary.

We often look at masterpieces created by well known artists, admiring their detail, realism, brush strokes, or color choices. But what do we, as individuals from all walks of life, bring to the interpretation of this artwork? What memories do they bring to the forefront of our minds? What people, places, or things come to mind when you take the time to look at the work closely?

While the artist may have been documenting a specific place and time in history, or as a personal experience that has sentimental value, these works of art might serve a new and different purpose in our contemporary context.

This exhibition, highlighting landscapes from the Phillips Museum’s permanent collection, is intended to provide visitors with an opportunity to look at the works and focus on their own interpretation. What do you see in the painting? Does it spark an emotion, trigger a memory, or perhaps inspire you to write a poem?

Curated by Janie M. Kreines, Curator of Exhibitions & Engagement at the Phillips Museum of Art at F&M.

Constantine “Gus” Kermes (American, 1923–2009). [Little Run Stream Near Rothsville Road], 1994 Watercolor on paper, 9 3/4 x 12 3/4". Gift of the Estate of Robert Sharpe Wohlsen, #TC2015.73.2.
Constantine “Gus” Kermes (American, 1923–2009). Rural Winter, 2000. Watercolor on paper, 8 1/2 x 12 1/2". Gift of the Estate of Robert Sharpe Wohlsen, #TC2015.73.3.

What do you see in these paintings?

Have you seen similar landscapes or buildings in this region? Where?

Amze Emmons (American, 20th C). Distant Horizon, 2011. Graphite and gouache on acrylic paper, 26 x 33 1/2". Phillips Museum of Art Collection, #TC2015.75.11.

What do you think the title of this work means?

What do you see on the horizon?

Do you consider this a landscape painting?

Leonora Herman (American, 1888–1966). The Veteran, Miramichi, Canada, c. 1940s. Oil on board, 36 x 40". Bequest of Leonora Herman, #3177.

Why do you think the artist titled this work The Veteran?

What do you think the blue in the background represents?

Woody Gwyn (American, b. 1944). The Canyon, 1979. Color lithograph on paper, 18 x 24". Gift of Marjorie and Edward L. Cahn, M.D. ’58, #2013.19.03.

What does the texture in this lithograph remind you of?

In what region of the United States do you think you would find this landscape?

What environmental process do you think created this type of landscape?

Unknown maker, signed “MGDL” (20th Century). [Field with birds], 1971. Watercolor and pastel on paper, 22 x 30 1/2". Gift of Dr. Phillips Roth ’43, #5391.

Does this painting remind you of autumn?

If so, what about the painting makes you think it is that time of year?

If not, what season does it look like to you and why?

Myrtle Tremblay (American, 1908–2011). [Witness tree at Donegal Church], 20th Century. Paint on paper, 14 1/4 x 10 1/2". Bequest of Dr. Paul Eyler, #5449.

Does this landscape painting look familiar to you?

What is a “witness tree”?

Unknown maker (American, 20th–21st Century). [Cross section of a witness tree], c. 2000. Wood and epoxy resin, approx. 4" (diameter). Phillips Museum of Art Collection, #2015.00.1353.

Do you think it is important to keep this piece of history? Why or why not?

Can you think of other materials that have been kept to document history? What are some examples?

For more information on witness trees click here.

Luigi Lucioni (Italian-American, 1900–1988). The Edge of the Birches, 1951. Etching in brown on wove paper, 9 1/4 x 12 1/4". Gift of John A. Griffin, F&M Professor (1949–1957), #3401.

What does the bark of a birch tree look like?

What do you see in the background of this etching?

William Sandford Mason (American, 1824–1864). Engraving by James Queen (American, c. 1820/21–1886). Printed by P.S. Duval & Co. View of Columbia, Lancaster County, Pennsylvania, c. 1850. Ink on paper, 22 1/4 x 29 1/4".Gift of Benjamin D. Bernstein, #99.

What do you think may have changed since this engraving was created?

Does the perspective that the artist used make you feel like you are part of the landscape?

Erica Lennard (American, b. 1950). Hampstead Heath, England, 1992. Gelatin silver print on paper, 12 1/8 x 18 3/8". Gift of Burton M. Leibert ‘66, #5505.

What is your first impression?

What do you think about the trees in this photograph? Do you know the species?

Why do you think the photographer developed this photograph in muted tones?

Sally Gall (American, b. 1956) Tampaksiring, 1992. Gelatin silver print on paper, 15 1/8 x 15 1/8". Gift of Burton M. Leibert ‘66, #5484.

Where do you think this photograph was taken?

What elements within this landscape led you to this conclusion?

James Siena (American, b. 1957). Tanagra, 2006. Ink on paper (lithograph), 29 x 43 1/2". In honor of Patricia E. Harris ‘77, distinguished alumna, #5609.

What was your eye drawn to first?

What do you see in this image that resembles a landscape?

What impact does the bright and busy pattern have on your interpretation of the work?

Franco Fontana (Italian, b. 1933) [Beach at the Bay of Zagara, Italy], 1970, printed in 1983. Chromogenic print on paper, , 19 3/4 x 13". Gift of Burton M. Leibert ‘66, #5154.

What does this photographic landscape look like to you?

Is this a calming image? How does it make you feel?

Phillips E. Roth ‘43 (American, 20th Century). Methow River, 20th Century. Watercolor on paper, 15 x 20 1/2". Gift of the Artist, #5414.

What stands out to you in this watercolor? What time of day do you think it is? What elements of the painting led you to this conclusion?

What do you think of the artist’s use of color? Does the painting portray a particular mood or feeling?

Gwendolyn J. Cook (20th or 21st C). [Landscape with crows], late 20th or early 21st C. Watercolor on paper, 16 3/4 x 20 3/4". Gift of the Estate of Robert Sharpe Wohlsen, #TC2015.73.18.

Does the inclusion of the crows change the way that you think about this landscape?

Benjamin Edwards (American, b. 1970). Automatic City (ed. 12/40), 2006. Ink on paper, 30 1/2 x 52 1/4". In honor of Patricia E. Harris ‘77, distinguished alumna, #5602.

What is the first thing that comes to your mind when you look at this print?

Did you see the building in the background?

What do you think the artist is trying to communicate through this work?

Utagawa Hiroshige (Japanese, active 1797–1858). Shôno: Driving Rain (Shôno, hakuu), 1833–34. From the series Fifty-three Stations of the Tokaido Road (Tokaido gojusan tsugi no uchi). Ink on paper, 9 3/4 x 15". Phillips Museum of Art Collection, #EC110.1JP.

What do you think is happening in this Japanese woodcut print?

What details did the artist use to communicate to the viewer the environmental conditions?

Adolf Dehn (American, 1885–1968) Summer Day, 20th Century. Ink on paper (lithograph), 14 x 18". Gift of John A. Griffin, #4201.

What is the first thing that you see when you look at this lithograph?

What do you think about the scale/proportions used in this print?

Andreas Feininger (American, 1906–1999). Shasta Dam, California, 1947. Gelatin silver print on paper, 10 x 9 7/8". Gift of Gertrud E. Feininger, #2013.05.17.

What was your eye drawn to in this photograph?

Do you think that was the photographer’s intention?

When you look closer, what other features do you see?

Edward Mitchell Bannister (Canadian-American, 1828–1901). [Rhode Island landscape], 1882. Oil on canvas, 17 x 19". Gift of Mark and Jennifer Kuhn, #2018.19.03.

What is the first thing that your eye is drawn to in this painting?

What do you think drew you to that feature, color, or position?

Samuel Borenstein (Lithuanian, 1908–1969, active in Canada after 1921). [Spring landscape], 1944. Gouache paint on paper, 17 3/4 x 29 1/4". Gift of Boris Leavitt, #4879.

What stands out to you about this painting? Color, texture, composition?

What elements do you see in the foreground and background?

Robert Berlind (American, 1938–2015). [Landscape with water], 1990. Oil on masonite, 16 x 12". Gift of Bill Hutson, #EC402.

What do you hear when you look at this painting?

Henry Mylin Kieffer (American 1890–1984). [Field with farmhouse], 1939. Watercolor on paper, 10 1/4 x 13 58". Phillips Museum of Art Collection, #2015.00.49.

How many animals do you see? What type of animals are they? Where in the world do you think they are?

What do you think about the use of colors in this watercolor? How do they make you feel?

Ann Wyeth McCoy (American, 1915–2005) White Lupine, 20th Century. Watercolor on paper, 19 1/2 x 15 1/2". Gift of the Estate of Robert Sharpe Wohlsen, #2015.73.23.

What do you feel when you look at this watercolor painting?

Does this plant look familiar to you? What is in the background?

Josephine Kieffer Foltz (American, 1881–1967). From Conestoga Center, 19th Century. Oil on masonite, 15 1/4 x 19 1/4". Gift of the Charles Steinman Foltz, Jr. Trust, #EC1228.

What do these buildings look like to you?

What do you smell when you look at this painting?

What time of year do you think it is? Why?

Linda Cunningham ‘75 (American, b. 1939). Birth of the Moon, 1987. Ink on paper, 36 1/2 x 24 1/4". Gift of the Artist, #5166.

Do you see any landforms and atmospheric elements in this print? What are they? What do the different colors represent?

Does this print evoke any emotions? What are they and why?

Kristin V. Rehder (American, b. 1953) The Beech Grove, Lancaster, 2018. Pigment print on rag paper scanned from silver halide film, Gift of the artist, #TC2020.01.01

Does this image evoke any emotions for you?

Perhaps peaceful feelings, or maybe something different?

Lloyd Mifflin (American, 1846–1921). The Susquehanna Below Columbia, 1912. Oil on canvas, 24 1/2 x 31 1 /4" (framed). Bequest of Serena Mayer North Hutchinson Estate, #1660.

Look closely at the painting. What do you hear?

Look at the scale of the figure in the boat versus the rocks.

Is this an activity that you would participate in?

Thomas Moran (American, 1837–1926). And Softer Than the Sound of Waters Falling, c. 1890. Ink on paper, 11 1/2 x 9 1/2". Gift of admirers of Lloyd Mifflin, #4085.

What stands out to you in this watercolor? What time of day do you think it is? What elements of the painting led you to this conclusion?

What do you think of the artist’s use of color? Does the painting portray a particular mood or feeling?

John Ford Clymer (American, 1907–1989). Down in the Valley, c. 1924–1944. Oil on canvas, 19 1/4 x 29 1/4". Phillips Museum of Art Collection, #1603

What season of the year do you think this painting portrays?

Does it remind you of a place you have been before?

Fleck, Ralph (German, b. 1951). Matterhorn Nachtbild, 1997. Oil on canvas, 39 1/2 x 31 1/2". Gift of the Estate of Robert Sharpe Wohlsen, #2015.73.7.

What time of day is portrayed in this painting? What season of year is it?

Where do you think this mountain is located?

Seymour Remenick (American, 1923–1999). [Farm and fields], 20th C. Oil on canvas, 34 3/4 x 38 3/4" (framed). Gift of Benjamin D. Bernstein, #2380.

Does this landscape look familiar?

What do you see in the painting that has a similar feel to the Lancaster area?

Does the grayish color of the sky create a different feeling then if it was blue?

Helen Gerardia (Russian-American, 1903–1998). Landscape with Green, c. 1968. Color lithograph, 14 x 18". Gift of Helen Gerardia, #5124.

At first glance, do you consider this to be a landscape?

What do the shapes and symbols represent in this abstract work?

Walter I. Mattern (American, 1891–1946). [Stone farmhouse in autumn], c. 1940. Oil on canvas, 19 1/4 x 23 1/2". Gift of Robert L. Schaeffer Jr. Ph.D., #699.

Does this scene look familiar to you? Why or why not?

What time of year do you think is portrayed in this painting? What led you to this conclusion?

Unknown maker (Probably China, 19th–20th Century). [Book of 18 woodblock prints of Chinese landscapes], 1923. Ink on paper, 16 1/4 x 10 1/4". Gift of Lilian W. van Horn, #EC168JP.

What do you think of this book of woodblock prints?

What do you think these images were used for?

Who do you think would have owned these prints?

William Henry Bartlett (British, 1809–1854) after John Cousen (British, 1804–1880). Niagara Falls from the Ferry, 19th C. Ink on paper, 4 1/2 x 7". Bequest of Serena Mayer North Hutchinson Estate, #2028.

Does this lithograph remind you of a certain place? If so, what details led you to this conclusion? Have you been there before?

What feelings or emotions do you feel when looking at the proportions used to portray humans to the surrounding landscape? Why?

Audrey Garwood (Canadian, 1927–2004). Tempest Tossed, 2001. Oil on canvas, 31 3/8 x 41 3/8" (framed). Gift of the Estate of Audrey Garwood and her granddaughter, Mackenzie Hosie Quinn ’17, #2014.01.01.

What do the colors remind you of?

What do you feel when you look at this painting?

Wilson Browne (American, 20th C) Campus Mist, 20th C. Gelatin silver on paper, 16 x 12 3/4". Phillips Museum of Art Collection, #5182.

Look at the photograph before you read the title of the work. Where do you think this picture was taken?

Do you know what building is in the background?

What year do you think this photo was taken? Why?

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