Northshore magazine showcases the best that the North Shore of Boston, MA has to offer.
Issue link: http://read.uberflip.com/i/960054
111 McCrea's scene of Pigeon Cove features a rough-and-tumble waterfront scene of men and manly things, a subject normally reserved for her brethren painters. Margaret Fitzhugh Browne's 1920 portrait of her sister in garden- ing gloves with yellow flowers in her lap is a beautiful work. Felicie Waldo Howell's 1921 night view of Gloucester's Town Hall Square decked in patriotic bunting shows us a large gathering at a dedication, at the site that would feature iconic bronze sculpture of Joan of Arc. Women artists share much in common, says Van Dyke. "Sometimes it seems that art-making is a balancing act unique to us. Women are natural caretakers with an inclina- tion to get to the studio after all is well on the home front. I am probably not alone when I say that there is nothing quite like taking a break in some little Gloucester place and then to recognize another woman artist in there too. It's like bumping into a favorite blood relative. Among us, conversation flows easily. More than fun, it's restorative." When the exhibition comes down, which is slated for some time this spring, and is all packed up, Van Dyke imagines that voices from the past will rise up with "a rustle of excitement" about the inclusion of women artists, recognized for what they've been doing all along. Cape Ann Museum, 27 Pleasant St., Gloucester, 978-283-0455, capeannmuseum.org. Martha Oaks, (middle right) curates works by Juni Van Dyke, Judith Goetemann, Ruth Mordecai, Pat Lowery Collins, Gabrielle Barzaghi, Anna Comolli, Emma McCrea, Felicie Waldo Howell, and Margaret Fitzhugh Browne. Opposite page, Juni Van Dyke