The Notch House, Frank Shapleigh, 1879, Oil on canvas, 28 x 41 inches, Private collection
Curated by Marcia Schmidt-Blaine, February 23, 2013 – March 2, 2014, MWM gallery
The first exhibition in the new museum, employed images, interpretive panels, films and interactive technologies to invite visitors to question the influence of time and space on human connections with nature. Focusing on five distinct areas—Crawford Notch, Mount Washington Valley (eastern slopes), the Summit of Mount Washington, the Northern Presidentials, and Franconia Notch—visitors were encouraged to think more deeply about the White Mountain region and the evolving human experience of it.
Old Kitchen in Bartlett, New Hampshire, Frank Henry Shapleigh, 1891, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, Gift of Robert A. and Dorothy H. Goldberg
Curated by Marcia Schmidt Blaine with Charles Vogel, October 17, 2013 – March 2, 2014, MWM gallery
Bob Goldberg was a major 20th century dealer of White Mountain art who was as impassioned by the area as he was by the paintings. Many current collections have roots in his artistic savvy. This exhibition celebrates his commitment to cultivating collectors of White Mountain art. All works are on loan from the Hood Museum of Art at Dartmouth College where Robert A. and Dorothy H. Goldberg bequeathed their extensive collection.
Guy Shorey in his Studio, photographer unknown, circa 1931, Courtesy of the Mount Washington Observatory
Curated by Dr. Peter Crane, September 20, 2011 – October 22, 2011, Karl Drerup Art Gallery
Guy Shorey was a preeminent photographer in New Hampshire’s North Country in the first half of the twentieth century. This exhibition explores Shorey in his various roles: as an observer of his own life and the life of his community at work and at play; as an entrepreneur, using the attraction of the local photograph to provide a livelihood and to encourage visitation to his beloved Gorham and Randolph; and as an artist, whose sense of place and affection for the White Mountains was mirrored in his images and was evident in the Shorey Studio’s tagline, “Among the White Hills.”
On the Saco, North Conway, 1861, Benjamin Champney, Oil on canvas 3 x 13 inches, from the collection of John H. and Joan R. Henderson
Curated by Marcia Schmidt Blaine with Mark Green, February 8, 2011 – April 9, 2011, Karl Drerup Art Gallery
White Mountain School painting has long been admired for the ways that artists captured and embellished the natural beauty of the region. Equally imbedded in those paintings is evidence of environmental change, from the impact of settlers’ activities including clear-cutting, hunting, and farming, to the industrial practices of pulp mills and mines. As settlers and investors drew benefits from natural resources, they perceived the land as the site of abundance and beauty reflected in the paintings. The exhibition will celebrate the great art of the era and explore dynamic environmental change as time passes over the land.