Archives for category: Philip Hale

Being asked to do something that you have never done before, and with which you have no experience, can be an intimidating request. A voice in your head shouts, “you don’t know how to do that, just say no, you’ll make a mess of it.” Ignoring the voice, I plunged ahead and dived into unknown waters. Luckily the waters were not shallow.

Heather Atwood asked me to design a memorial bench for her mother. The bench was to be placed at Howlets, Heather’s home. The first decision to be made was, where on the property the bench should be placed? We agreed that it would sit in a small shade plant garden tucked at the edge of the property. Discovering the bench as one strolls about the property, rather than it standing out in a prominent “main event” kind of way, was the right subtle treatment for the bench. Sitting in this semi-hidden spot would provide a welcome, contemplative retreat.IMG_1416

The best design for the low-key setting was a large single block of granite with the initials of Heather’s mother carved on the face. Large single blocks of granite can look so heavy and cumbersome when placed in a garden. To make it less squatty and lighter looking in appearance, two semi-hidden stone block feet about the size of large shoe boxes underneath the bench elevate it and make it “float.”

For Heather’s mother’s initials, CCL, we wanted a script style that fit the bench design. After a search through several seaside cemeteries we found a font that we both liked. Bold yet light. The letters would be set in a rectangular shaped frame cut into the stone. During our search of cemeteries we happened upon the grave of Gabrielle de Veaux Clements, a painter who shared a home with Ellen Day Hale, the builder of Howlets. It was a totally unexpected and serendipitous discovery.IMG_1419

Dave McGibbon, stonemason, began the task of splitting the large oblong piece of granite from an even larger rough stone. So that it will blend in with the stone wall behind it, we decided that the finish on the bench should not be polished and shiny. The slightly dimpled surface, called bushed, gives the bench a time worn visage. With time, the fresh cut granite will age and darken and become like the lichen covered and weathered stone wall close by.

Working on a history-laden property like Howlets is always daunting. But the addition of this memorial bench on the property somehow felt right, like adding yet a new layer of beautiful patina on the old home. I am glad I took the plunge.

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Portrait of a young girl.

Elana

For many children and teenagers growing up on Cape Ann, Art was not something that resided far away, in museums in Boston and New York. Great art was being made in studios down the street or across the cove. Many youths were asked to pose by the great artists that created their art in Rockport and Gloucester. Elana Brink, nee Pistenmaa, was such a teenager.

On a recent August afternoon, Elana generously shared her memories of when, at age 17, her portrait was drawn by Lilian Westcott Hale. Lilian Wescott Hale was thought to be one of the best portrait painters of her time. She met her husband Philip Leslie Hale while taking classes at the School of Fine Arts in Boston. He was her teacher and seventeen years her senior. While Philip studied under Monet at Giverny, Lilian was recognized as the better painter of the two. When viewers admired Philip’s paintings, as he peered over his glasses, his usual reply was, “Wait until you see Mrs. Hale’s paintings.” Lilian’s paintings can be seen at the Harvard University Art Museum in Cambridge, Massachusetts, the Metropolitan Museum of Art in New York City, the Phillips Collection in Washington, D.C., the Museum of Fine Arts in Boston, and the Farnsworth Art Museum in Rockland, Maine.

Lilian sketching in 1902

Elana’s portrait was executed in the stone studio at Howlets, the Hale family summer studio in Folly Cove. She posed four mornings a week for a two week time span during August of 1959. This pencil sketch was one of the last works that Lilian produced before passing away in 1963. Elana did not see her portrait in progress during the sittings and when she finally did see it upon its completion, she felt as if she had been portrayed in such a saddened state that she told both Lilian and her daughter Nancy that she looked like “she should have tears running down my face.” Upon hearing this, Nancy replied, “Oh no darling, you look dramatic ! ”

Hale family studio

Elana’s family was no stranger to great artists. Elana’s father, when he was a teen, was immortalized as “The Diver” by the sculptor Walker Hancock.

Elana visited the studio again this month and graciously brought the portrait for Heather, one of the current owners of the studio, and myself to see. Nancy Hale was correct in her assessment of the portrait of Elana: ¬†she does look dramatic in it, wonderfully so. It captures the beauty and slightly self-possessed air that only a 17 year old can carry off successfully. Elana had made the dress in which she posed. When sitting for the portrait, Elana recalled that Lilian, aged 78, kept asking Elana, aged 17, if she was tired and needed a rest from posing. Nancy Hale said of her mother during that time period, “In her early eighties, my mother produced some of her best portrait drawings, working as ever, with arms outstretched at full length without a tremor for hours, although by that time she could not hold a cup and saucer without rattling it.” Elana remembers both Lilian and her daughter Nancy as being “so elegant with their styled white hair.”

For Elana, growing up among artists was nothing remarkable. She remembers meeting “so many artists” and only later recognized that quite a few of them were famous. Elana and her father are part of a long legacy of artists drawing their inspiration from not only Cape Ann’s landscape, but from its people.

Elana and her portrait in the studio