Artline Winter 2012

L oïs Mailou Jones (1905-1998)was an international star in theart world as a painter, teacher,

book illustrator, and textile designer.More than 50 paintings, drawings andtextile designs from public and privatecollections, as well as works from theartist’s estate will be on view in theMitchell Gallery from January 10 toFebruary 12. Many of the works in thisexhibition are on view to the publicfor the first time.

Jones worked through some of themost influential movements of the20th century: the HarlemRenaissance, the CivilRights movement,and therecognitionof Africanheritage.Accordingto one of her former students,Howard University professorTritobia Hayes Benjamin, “She[Jones] wanted to be known andperceived as an American artist—judged on the strength of hertalent and artistry…and that asa woman she was equal to andas good as any male artist,black or white.”

Jones’s works convey herstruggles as a

woman artist in a male-dominatedprofession, an African-Americanwoman in an atmosphere ofsegregation, and a creative woman ona journey of self-discovery andaffirmation. The personal and profes-

sional journeys of her long and prolificcareer appear in her African-inspiredworks of the early 1930s, landscapes,cityscapes, and figure studies from

A B O U T T H EG A L L E R Y

The Mitchell Gallery in Mellon Hall, on thecampus of St. John’s College in Annapolis,Maryland, was established as a center oflearning for all who wish to deepen their understanding of the visual arts. TheMitchell Gallery serves the greaterAnnapolis area with the only fullysecured, climate-controlled fine arts facility in Anne Arundel County.

H o u r sDuring scheduled exhibitions, the gallery is open Tuesday-Sunday, 12-5 p.m. and Friday, 7-8 p.m. There is no admission charge.

Docent-led tours are offered onThursdays from 12-3 p.m. Group toursare also available. For information call 410-626-2556.

S t a f fDirector: Hydee Schaller

Executive Editor: Kathy Dulisse

Editor: Patricia Dempsey

Chairman, Faculty Advisory Committee:Thomas May

Chairman, Mitchell Gallery Board of Advisors: Dennis Younger

Art Educator: Lucinda Dukes Edinberg

Exhibit Preparator: Sigrid Trumpy

Graphic Designer: Jennifer Behrens

website: www.stjohnscollege.edu

Funding and support for Mitchell Gallery exhibitions

are provided in part by Anne Arundel County, the

Arts Council of Anne Arundel County, the City of

Annapolis, The Helena Foundation, the Maryland State

Arts Council, the Estate of Elizabeth Myers Mitchell,

Mitchell Gallery Board of Advisors, Members of the

Mitchell Gallery, the Mitchell Gallery Endowment,

Mitchell Gallery Next Generation Committee,

the National Endowment for the Arts, the Lillian

Vanous Nutt Mitchell Gallery Endowment, and the

Clare Eddy and Eugene V. Thaw Fine Arts Fund.

E X H I B I T S

LOÏS MAILOU JONES: A LIFE IN

VIBRANT COLOR

January 10-February 12

GATHER UP THE FRAGMENTS:

THE ANDREWS SHAKER

COLLECTION

March 2-April 19

N E W S F R O M T H E M I T C H E L L

G A L L E R Y A T S T . J O H N ’ S

C O L L E G E

Continued on page 2

ARTLINEVol. 20, No. 2 Winter 2012

GATHER UP THE FRAGMENTS: THE ANDREWS SHAKER COLLECTIONMarch 2-April 19

“Gather up the fragments thatremain, that nothing be lost.” John 6:12

The United Society of Believers inChrist’s Second Appearing—

commonly calledShakers—is aunique monastic

and communi-tarian culture,lofty in its

principles andmatchless in the design

of every object its members crafted.Among the objects on view at theMitchell Gallery this spring are theinspired, simple designs of Shaker

craftsmen, including furniture,architecture, crafts, and the

now iconic oval boxes andladder-back chairs.

Between 1790 and 1794, Shakercommunities were organized inMassachusetts, Connecticut, NewHampshire, and Maine, followed byother enclaves in Indiana, Kentucky,New York, and Vermont. By 1850,they began to lose their momentumand their dwindling membership ledto the closure of many of thecommunities.

Shaker tradition began with a groupof dissenting Quakers who emigratedfrom England to New York in 1774,and was founded on the principles ofthe charismatic Ann Lee, laterknown as “Mother Ann.” Because ofthe ecstatic and enthusiast nature oftheir worship services for “singingand dancing, shaking and shouting,speaking with new tongues andprophesying...they were known as

FEATURED EXHIBITIONSLoïs Mailou Jones, Mère du Senegal, 1985. Acrylic. Courtesy of the Loïs Mailou Jones Pierre-Noël Trust.

LOÏS MAILOU JONES: A LIFE IN VIBRANT COLORJanuary 10-February 12

by Lucinda Edinberg

Continued on page 3

Jones worked through some of themost influential movements of the20th century: the HarlemRenaissance, the CivilRights movement,and therecognitionof Africanheritage.Accordingto one of her former students,Howard University professorTritobia Hayes Benjamin, “She[Jones] wanted to be known andperceived as an American artist—judged on the strength of hertalent and artistry…and that asa woman she was equal to andas good as any male artist,black or white.”

Jones’s works convey herstruggles as a

Jones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of theJones worked through some of themost influential movements of themost influential movements of the20th century: the Harlem20th century: the HarlemRenaissance, the CivilRenaissance, the CivilRights movement,Rights movement,and therecognitionrecognitionrecognitionof Africanof Africanheritage.AccordingAccordingto one of her former students,to one of her former students,to one of her former students,Howard University professorHoward University professorTritobia Hayes Benjamin, “SheTritobia Hayes Benjamin, “SheTritobia Hayes Benjamin, “She[Jones] wanted to be known and[Jones] wanted to be known andperceived as an American artist—perceived as an American artist—judged on the strength of hertalent and artistry…and that astalent and artistry…and that asa woman she was equal to andas good as any male artist,as good as any male artist,as good as any male artist,black or white.”

Jones’s works convey herJones’s works convey herJones’s works convey herstruggles as astruggles as astruggles as astruggles as a

matchless in the design

lofty in itstarian culture,and communi

unique monasticShakers—is a

commonly called


commonly calledShakers—is aunique monastic

and communitarian culture,lofty in its

principles andmatchless in the design

of every object its members crafted.Among the objects on view at theMitchell Gallery this spring are theinspired, simple designs of Shaker

craftsmen, including furniture,architecture, crafts, and the

now iconic oval boxes andladder-back chairs.


commonly calledShakers—is a

and communi

matchless in the designprinciples and

The United Society of Believers inThe United Society of Believers inChrist’s Second Appearing—Christ’s Second Appearing—Christ’s Second Appearing—Christ’s Second Appearing—

commonly calledShakers—is aShakers—is aunique monasticunique monastic

and communiand communiand communitarian culture,tarian culture,lofty in itslofty in itslofty in itslofty in its

principles andmatchless in the designmatchless in the design

of every object its members crafted.of every object its members crafted.Among the objects on view at theAmong the objects on view at theMitchell Gallery this spring are theMitchell Gallery this spring are theMitchell Gallery this spring are theinspired, simple designs of Shaker

craftsmen, including furniture,craftsmen, including furniture,architecture, crafts, and the

now iconic oval boxes andnow iconic oval boxes andnow iconic oval boxes andladder-back chairs.ladder-back chairs.ladder-back chairs.ladder-back chairs.

Desk, Hancock, MA or Enfield, CT, ca. 1840. Andrews Collection,Hancock Shaker Village. Photo by Michael Fredericks.

LOÏS MAILOU JONES: A LIFE IN VIBRANT COLORJanuary 10-February 12

EXHIB IT NOTES1937 to 1951. They also appear inHaitian scenes of the 1950s and1960s, and the return of Africanthemes in her later years.

Jones came from an educated familyin Boston and spent summers onMartha’s Vineyard. Her father was alawyer and her mother was abeautician and hat designer. Herparents encouraged her to accept ascholarship to the Boston MuseumSchool of the Arts to pursue a careeras an artist, despite the strong racialprejudices of the time. She receivedtraditional training at the MuseumSchool using cast models and copyingmasters’ works. Charcoal drawingstudies, The Flight of Love (1923) andYoung Girl (1923) after Rodin, areevidence of this training.

Following graduation, Jones taughtart at the Palmer Memorial Institute,a private African-American boardingschool in Sedalia, N.C. She created anumber of paintings that reflect life inSedalia, but due to the indignities ofsegregation, living in the Southproved to be a frustrating anddegrading experience. Consequently,Jones left North Carolina and joinedthe art department at HowardUniversity, where she launched herformal career as an artist and held afaculty position until her retirementin 1977. For more than 70 years,Jones enjoyed a successful artistic

career, including 47 years of teachingat Howard University. Her impressiveroster of students included now well-known artists: David Driskell,Elizabeth Catlett, Lou Stovall, andRobert Freeman.

Her designs for Cretonne draperyfabrics occupied much of her time inthe 1930s. These designs, created intempera paints, included palm trees

in a range of warm colors, and alsobold swirls, organic and geometricdesigns. Turquoise, gold, white andblack colors—now considered“retro”—reflect her sense ofadventure and awareness of moderndesign.

In 1937, Jones went to Paris, whereshe had exhibition opportunities thathad been denied in the United States.A General Education Board ForeignFellowship funded her studies at theAcadémie Julian. Jones exhibited herpaintings at the Société des ArtistesFrançaise and Société des ArtistesIndependents. The paintings fromthis prolific period—many of whichare on view in the Mitchell Gallery—reflect a mixture of styles andsubjects, including academic nudes,psychological portraits, traditionalstill lifes, and lush landscapes.

African art was very popular in Parisand with the developing influence ofthe Harlem Renaissance, Jonesdeveloped a new interest in Africanart and culture. Her return to the U.S.to continue teaching at HowardUniversity furthered her interest inthese themes. Jones’s work in thisperiod is inspired by Africa as thecultural and symbolic homeland ofAfrican Americans. African-inspired

subjects weave in and out of her workand some are tied to specific events.The black Expressionist movement inthe 1960s, with masks, motifs, andhistoric African themes, providedmaterial for works in the 1970s. Sheused triangular bands and theabstracted and decorated animalforms found in such works as“Dahomey.”

In contrast, other works such as MobVictim, a simple composition of ahomeless man, are commentary onthe climate of segregation and herprotest to racial violence. In 1953,Jones married Louis VergniaudPierre-Noël (1910-1982), a talentedgraphic designer of Haitian descent,whom she had met at ColumbiaUniversity 20 years earlier. Herannual visits to his native countryinspired a new perspective. Her workbecame more abstract and hard-edgedwith a spirited use of new brightcolors and richly patterned designs—abreak from the impressionisttechniques previously used. TheWater Carriers and Nature Morte auxCorail represent this new style.

Her work, considered an importantpart in the history of American art, isfound in the museum collections ofthe Smithsonian American ArtMuseum, the Corcoran Gallery of Art,the Metropolitan Museum of Art, theMint Museum of Art, and theHirshhorn Museum and SculptureGarden. An accompanying exhibitioncatalogue will be on sale in theMitchell Gallery. v

Source: Excerpts from the exhibitioncatalogue “Loïs Mailou Jones: A Lifein Vibrant Color,” edited by Carla M.Hanzal.

“Loïs Mailou Jones: A Life in VibrantColor” is organized by the MintMuseum of Art, Charlotte, N.C., incollaboration with the Loïs MailouJones Pierre-Noël Trust, and toured byInternational Arts & Artists,Washington, D.C. The exhibition isfunded in part by the NationalEndowment for the Arts.

Carla M. Hanzal, curator of contemporary art at the Mint Museum inCharlotte, North Carolina, will share her thoughts on the “Loïs Mailou Jones:A Life in Vibrant Color” exhibition on January 25 at 7 p.m. Jones’s paintings,drawings, and textile designs illustrate her life as a reflective, sensitive artist:they are an exploration not only of her heritage and the struggles of theAfrican-American community, but also landscapes, still-life, and the human form.

Hanzal received her master of arts from the American University and herbachelor of arts from Hastings College. She has been awarded a TrumanScholarship as well as a Fellowship from the National Endowment for theArts. Before coming to the Mint Museum, she worked as chief curator at theContemporary Art Center of Virginia, and as director of exhibitions at theInternational Sculpture Center in Washington, D.C.

Loïs Mailou Jones, Nature Morte aux Corail, Haiti, 1985. Watercolor. Courtesy of the Loïs Mailou Jones Pierre-Noël Trust.

Continued from front page

“At ninety, I arrived.” Loïs Mailou Jones

Loïs Mailou Jones, Design for Cretonne Drapery Fabric, 1932. Watercolor on paper. Courtesy of the Loïs Mailou Jones Pierre-Noël Trust.

the “Shaking Quakers.”Mother Ann enjoined herfollowers to confess theirsins, give up all theirworldly goods, and takeup the cross of celibacy.The Shakers believed inthe equality of the sexes, animportant guiding doctrine inthe governance of the Believers,and members were acquired byconversion or through orphanedchildren. By 1787, their number offollowers grew and Joseph Meachambegan “gathering into order” thescattered Believers and organizingthem into what grew to more than 20communities, with women and mensharing in its leadership.

Through the early efforts ofcollectors Ted and Faith YoungAndrews, the objects in thisexhibition come from the mostcomprehensive collection of Shakermaterials ever assembled, whichfeatures the workfrom Shaker

Communities in Connecticut,Massachusetts, New Hampshire, andNew York. With limited means theyspent more than 40 yearsresearching, writing books, andorganizing exhibitions. The Andrewswere instrumental in saving the

community closest to home,Hancock Shaker Village in

Pittsfield, Mass. Although theimpressive range of artifacts tellthe story of Shaker life, theseobjects also serve as a testimony tothe devoted friendship, and theAndrews’ passion and respect forthe Shaker way of life.

Shakers followed traditionalgender work-related roles. Womenworked indoors spinning, weaving,cooking, sewing, cleaning,washing, and making or packaginggoods for sale; otherwise theytended to gardens. Men worked inthe fields and in their workshopsfor crafts and trades. The Shakerswere self-sufficient; they producedgoods for themselves and soldbaskets, brushes, brooms,homespun fabric, seeds, andmedicinal and culinary herbs.Farming practices included thelatest scientific methods and labor-saving devices. Their cooperage atthe Church Family at MountLebanon, N.H., produced as manyas 100 tubs and 300 pails in a year.

Like any industry, they had toconsider production costs, and owingto the scarcity of timber and tocompetitive factories abroad, their

production had largely ceased by1856. Shakers continued to

be known for theirindustrious,

honest, andfrugal

ethics,qualities that

made theirproducts highly desirable.

As seen in the exhibition at theMitchell Gallery, Shaker craftsmenproduced simple but durable designsin architecture, furniture, and crafts.Initially, the ladder-back chair,mortised and pegged with woven-splint or taped seats, was amongtheir most financially successfuldesigns. Shaker-crafted oval boxes,along with tools, household objects,and garden supplies, were among theproducts made for their own use aswell as for commercial sales. Largerfurniture pieces such as desks,cupboards, and tables, were valuedfor their function and straight-forward design. Pieces were usually

numbered or dated, and often thecraftsman would include aninscription with a moral lesson. Forexample, in 1840 Brother IsaacNewton Youngs, one of the mostskilled craftsmen at the NewLebanon Shaker community,wrote on the back of theface of a wall clock“O Time! Howswift that solemnday rolls on/when from thesemortal scenes weshall be gone!!!”These artifacts,along withdrawings, raremanuscripts, and aletter written in1782 from FatherJames Whittaker,one of the Believerswho accompaniedMother Ann Lee toAmerica in 1774, areincluded in thecollection on view.

The exhibition title, “Gather up theFragments That Remain, ThatNothing be Lost,” taken from a bibleverse, was written on the table

monitor in each Shaker communitydining hall. It describes thegathering of the fragments of Shakerlife, the precept of “waste not, wantnot,” and also hints at thecontroversy that surrounds thegathering and dispersal of thecollection. “As best they could, theAndrews tried to save Shakerculture,” said Christian Goodwillie,the Hancock’s former curator ofcollections and co-author of the 400-page catalog, published by YaleUniversity Press. “They had theirpick of the litter but they also savedeverything: dirty old shoes, worn-outthings, tinsmith tools, and thehumblest diary.”

Thanks to the effort of Amy BessMiller, a local philanthropist andShaker devotee, the Hancock ShakerVillage was saved from commercialdevelopment and was opened as amuseum furnished with objects from the Andrews collection ofShaker works. For the Andrews, whatbegan as a collection turned into amission to save Shaker culture forposterity. v

“Gather Up the Fragments” isorganized by Hancock ShakerVillage, Pittsfield, Massachusetts,and toured by International Arts &Artists, Washington, D.C. Funded inpart by the National Endowment forthe Arts. The exhibition is generouslysupported by the Helena Foundation.Source: Excerpts from the exhibition

catalogue Gather Up theFragments: The

Andrews ShakerCollection by MarioS. De Pillis andChristianGoodwillie.

GATHER UP THE FRAGMENTS: THE ANDREWS SHAKER COLLECTIONMarch 2-April 19


EXHIB IT NOTESfollowers to confess their

the “Shaking Quakers.”Mother Ann enjoined herfollowers to confess theirsins, give up all theirworldly goods, and takeup the cross of celibacy.The Shakers believed inthe equality of the sexes, animportant guiding doctrine inthe governance of the Believers,and members were acquired byconversion or through orphanedchildren. By 1787, their number offollowers grew and Joseph Meachambegan “gathering into order” thescattered Believers and organizingthem into what grew to more than 20communities, with women and mensharing in its leadership.

Like any industry, they had toconsider production costs, and owingto the scarcity of timber and tocompetitive factories abroad, their

production had largely ceased by1856. Shakers continued to


honest, andfrugal

ethics,qualities that

made theirproducts highly desirable.

As seen in the exhibition at theMitchell Gallery, Shaker craftsmenproduced simple but durable designsin architecture, furniture, and crafts.Initially, the ladder-back chair,mortised and pegged with woven-splint or taped seats, was among

monitor in each Shaker communitydining hall. It describes thegathering of the fragments of Shakerlife, the precept of “waste not, wantnot,” and also hints at thecontroversy that surrounds thegathering and dispersal of thecollection. “As best they could, theAndrews tried to save Shakerculture,” said Christian Goodwillie,the Hancock’s former curator ofcollections and co-author of the 400-page catalog, published by YaleUniversity Press. “They had theirpick of the litter but they also savedeverything: dirty old shoes, worn-outthings, tinsmith tools, and thehumblest diary.”

Thanks to the effort of Amy BessMiller, a local philanthropist andShaker devotee, the Hancock Shaker


the “Shaking Quakers.”Mother Ann enjoined herthe “Shaking Quakers.”Mother Ann enjoined herfollowers to confess theirsins, give up all theirworldly goods, and takeup the cross of celibacy.The Shakers believed inthe equality of the sexes, animportant guiding doctrine inthe governance of the Believers,and members were acquired byconversion or through orphanedchildren. By 1787, their number offollowers grew and Joseph Meachambegan “gathering into order” thescattered Believers and organizingthem into what grew to more than 20communities, with women and mensharing in its leadership.

Like any industry, they had toconsider production costs, and owingconsider production costs, and owingto the scarcity of timber and tocompetitive factories abroad, theircompetitive factories abroad, their

production had largely ceased by1856. Shakers continued to1856. Shakers continued to


honest, andfrugal

ethics,ethics,qualities that

made theirmade theirproducts highly desirable.products highly desirable.

As seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theAs seen in the exhibition at theMitchell Gallery, Shaker craftsmenproduced simple but durable designsin architecture, furniture, and crafts.Initially, the ladder-back chair,mortised and pegged with woven-splint or taped seats, was among

monitor in each Shaker communitydining hall. It describes thegathering of the fragments of Shakergathering of the fragments of Shakerlife, the precept of “waste not, wantlife, the precept of “waste not, wantnot,” and also hints at thenot,” and also hints at thecontroversy that surrounds thecontroversy that surrounds thecontroversy that surrounds thegathering and dispersal of thegathering and dispersal of thegathering and dispersal of thecollection. “As best they could, theAndrews tried to save ShakerAndrews tried to save Shakerculture,” said Christian Goodwillie,culture,” said Christian Goodwillie,culture,” said Christian Goodwillie,the Hancock’s former curator ofthe Hancock’s former curator ofcollections and co-author of the 400-page catalog, published by Yalepage catalog, published by YaleUniversity Press. “They had theirUniversity Press. “They had theirUniversity Press. “They had theirpick of the litter but they also savedeverything: dirty old shoes, worn-outthings, tinsmith tools, and thethings, tinsmith tools, and thethings, tinsmith tools, and thehumblest diary.”humblest diary.”

Thanks to the effort of Amy BessThanks to the effort of Amy BessMiller, a local philanthropist andShaker devotee, the Hancock Shaker

Continued from front pageContinued from front pageContinued from front pageContinued from front page

Wall Clock, Mount Lebanon, NY, 1840. Andrews Collection,Hancock Shaker Village. Photo by Michael Fredericks.

Blue Shoe, Unknown Community, ca. 1840. AndrewsCollection, Hancock Shaker Village. Photo by MichaelFredericks.

Shaker inventions included metal pennibs, the flat broom, a type of washingmachine called a wash mill, waterproofand wrinkle-free cloth created throughthe use of zinc chloride, and the metal

chimney cap that blocked rain.

Wooden Pail, Mount Lebanon, NY, 19th century. AndrewsCollection, Hancock Shaker Village. Photo by MichaelFredericks.

Goodwillie.Christian

S. De Pillis andby MarioCollection

Andrews Shaker

numbered or dated, and often thecraftsman would include aninscription with a moral lesson. Forexample, in 1840 Brother IsaacNewton Youngs, one of the mostskilled craftsmen at the NewLebanon Shaker community,wrote on the back of theface of a wall clock

swift that solemn

mortal scenes weshall be gone!!!”

manuscripts, and a

1782 from FatherJames Whittaker,one of the Believerswho accompaniedMother Ann Lee toAmerica in 1774, are

collection on view.

catalogue Gather Up theFragments: The

Andrews ShakerCollection by MarioS. De Pillis andChristianGoodwillie.

Gather Up thecatalogue Fragments: The

numbered or dated, and often thecraftsman would include aninscription with a moral lesson. Forexample, in 1840 Brother IsaacNewton Youngs, one of the mostskilled craftsmen at the NewLebanon Shaker community,wrote on the back of the

manuscripts, and a

one of the Believerswho accompaniedMother Ann Lee toAmerica in 1774, are

numbered or dated, and often thecraftsman would include aninscription with a moral lesson. Forexample, in 1840 Brother IsaacNewton Youngs, one of the mostskilled craftsmen at the NewLebanon Shaker community,wrote on the back of theface of a wall clockface of a wall clock

swift that solemn

mortal scenes weshall be gone!!!”

manuscripts, and a

1782 from FatherJames Whittaker,one of the Believerswho accompaniedMother Ann Lee toAmerica in 1774, are

collection on view.

catalogue Gather Up theGather Up theFragments: The

Andrews ShakerCollectionCollection by MarioS. De Pillis andChristianGoodwillie.Goodwillie.

A Shaker named Tabitha Babbitt(1784—about 1853) was an early

American tool maker who iscredited with inventing the firstcircular saw used in a saw mill in1813. She was a member of theShaker community in Harvard,

Massachusetts.

as 100 tubs and 300 pails in a year.

goods for themselves and soldwere self-sufficient; they producedfor crafts and trades. The Shakersthe fields and in their workshopstended to gardens. Men worked ingoods for sale; otherwise theywashing, and making or packagingcooking, sewing, cleaning,worked indoors spinning, weaving,gender work-related roles. WomenShakers followed traditional

the Shaker way of life.Andrews’ passion and respect forthe devoted friendship, and the

spent more than 40 yearsfeatures the workfrom Shaker

spent more than 40 yearsresearching, writing books, andorganizing exhibitions. The Andrewswere instrumental in saving the


Pittsfield, Mass. Although theimpressive range of artifacts tellthe story of Shaker life, theseobjects also serve as a testimony tothe devoted friendship, and theAndrews’ passion and respect forthe Shaker way of life.

Shakers followed traditionalgender work-related roles. Womenworked indoors spinning, weaving,cooking, sewing, cleaning,washing, and making or packaginggoods for sale; otherwise theytended to gardens. Men worked inthe fields and in their workshopsfor crafts and trades. The Shakerswere self-sufficient; they producedgoods for themselves and soldbaskets, brushes, brooms,homespun fabric, seeds, andmedicinal and culinary herbs.Farming practices included thelatest scientific methods and labor-saving devices. Their cooperage atthe Church Family at MountLebanon, N.H., produced as manyas 100 tubs and 300 pails in a year.

Wall Clock,Hancock Shaker Village. Photo by Michael Fredericks.

spent more than 40 yearsfeatures the workfrom Shaker researching, writing books, andfrom Shaker researching, writing books, and

organizing exhibitions. The Andrewswere instrumental in saving the


Pittsfield, Mass. Although theimpressive range of artifacts tellthe story of Shaker life, theseobjects also serve as a testimony to

the Shaker way of life.

worked indoors spinning, weaving,

goods for sale; otherwise they

for crafts and trades. The Shakerswere self-sufficient; they producedgoods for themselves and soldbaskets, brushes, brooms,homespun fabric, seeds, and

saving devices. Their cooperage at

as 100 tubs and 300 pails in a year.

Hancock Shaker Village. Photo by Michael Fredericks.

baskets, brushes, brooms,homespun fabric, seeds, andmedicinal and culinary herbs.Farming practices included thelatest scientific methods and labor-saving devices. Their cooperage atthe Church Family at MountLebanon, N.H., produced as many

Wall Clock,Hancock Shaker Village. Photo by Michael Fredericks.

features the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfeatures the workfrom Shaker

spent more than 40 yearsspent more than 40 yearsspent more than 40 yearsspent more than 40 yearsspent more than 40 yearsspent more than 40 yearsspent more than 40 yearsspent more than 40 yearsspent more than 40 yearsspent more than 40 yearsspent more than 40 yearsresearching, writing books, andresearching, writing books, andresearching, writing books, andorganizing exhibitions. The Andrewsorganizing exhibitions. The Andrewswere instrumental in saving thewere instrumental in saving the

community closest to home,community closest to home,Hancock Shaker Village inHancock Shaker Village in

Pittsfield, Mass. Although theimpressive range of artifacts tellimpressive range of artifacts tellimpressive range of artifacts tellthe story of Shaker life, thesethe story of Shaker life, theseobjects also serve as a testimony toobjects also serve as a testimony toobjects also serve as a testimony tothe devoted friendship, and thethe devoted friendship, and theAndrews’ passion and respect forAndrews’ passion and respect forthe Shaker way of life.the Shaker way of life.the Shaker way of life.

Shakers followed traditionalShakers followed traditionalgender work-related roles. Womengender work-related roles. Womenworked indoors spinning, weaving,worked indoors spinning, weaving,worked indoors spinning, weaving,cooking, sewing, cleaning,washing, and making or packagingwashing, and making or packaginggoods for sale; otherwise theygoods for sale; otherwise theytended to gardens. Men worked inthe fields and in their workshopsfor crafts and trades. The Shakersfor crafts and trades. The Shakerswere self-sufficient; they producedwere self-sufficient; they producedgoods for themselves and soldgoods for themselves and soldbaskets, brushes, brooms,baskets, brushes, brooms,baskets, brushes, brooms,homespun fabric, seeds, andhomespun fabric, seeds, andmedicinal and culinary herbs.medicinal and culinary herbs.medicinal and culinary herbs.Farming practices included theFarming practices included thelatest scientific methods and labor-latest scientific methods and labor-saving devices. Their cooperage atsaving devices. Their cooperage atthe Church Family at Mountthe Church Family at Mountthe Church Family at MountLebanon, N.H., produced as manyLebanon, N.H., produced as manyLebanon, N.H., produced as manyas 100 tubs and 300 pails in a year.as 100 tubs and 300 pails in a year.as 100 tubs and 300 pails in a year.

Wall Clock,Wall Clock,Hancock Shaker Village. Photo by Michael Fredericks.

credited with inventing the first


American tool maker who iscredited with inventing the firstcircular saw used in a saw mill in1813. She was a member of theShaker community in Harvard,


American tool maker who is

A Shaker named Tabitha BabbittA Shaker named Tabitha BabbittA Shaker named Tabitha BabbittA Shaker named Tabitha Babbitt(1784—about 1853) was an early(1784—about 1853) was an early

American tool maker who isAmerican tool maker who iscredited with inventing the firstcircular saw used in a saw mill in1813. She was a member of theShaker community in Harvard,Shaker community in Harvard,

Shakers used a “peg rail,” a continuouswooden device like a pelmet withhooks running all along it near thelintel level, to hang up clothes, hats,and light furniture, such as chairs,

when not in use.

THE MITCHELL GALLERY TRAVELPROGRAMFollowing on the gallery’s travel program to Dordogne lastspring, the Mitchell Gallery is sponsoring a trip to Tuscany.This seven-day trip departs on September 22, 2012, with twodays in Florence and five in Siena. Highlights include anextended visit to the Uffizi Gallery, excursions from Siena toMontalcino, San Gimignano, and the Chianti region; the

group will be accompanied by local experts on art,architecture, olive oil and wine.

The “early booking” cost is expected to be $3195 per person,including tax, double occupancy, exclusive of air. MitchellGallery members will be given preference for earlyreservations. Call Pamela McKee for further information onearly booking at 410-263-2610.

The Mitchell GallerySt. John’s CollegeP.O. Box 2800Annapolis, MD 21404-2800

Non-profit org.U.S. Postage

PAIDAnnapolis, MDPermit No. 120

Loïs Mailou Jones, D

ahomey, 1971. A

crylic. Courtesy of the

Loïs Mailou Jones Pierre-N

oël Trust.

LOÏS MAILOU JONES: A LIFE INVIBRANT COLORJANUARY 10-FEBRUARY 12January 15 Opening Reception & FamilyProgram. Art Educator Lucinda Edinbergand special guest Dr. Chris Chapman,trustee of the Loïs Mailou Jones PierreNoël Trust, will lead a tour of the “LoïsMailou Jones” exhibition followed by ahands-on workshop from 3:30 to 5 p.m.

January 25 Lecture. Carla Hanzal, curatorof contemporary art at the Mint Museum,will discuss “Loïs Mailou Jones: A Life inVibrant Color” at 7 p.m.

February 2 Book Club. Join members ofthe Mitchell Gallery Book Club for adocent tour of “Loïs Mailou Jones,”followed by a discussion of the book TheWedding by Dorothy West, from 2:30 to4:30 p.m. St. John’s tutor David Townsendwill lead the discussion. Registration isrequired. Contact Kathy Dulisse at 410-626-2530 or [email protected].

February 8 Art Express. Art EducatorLucinda Edinberg will give a lunchtimegallery talk on “Loïs Mailou Jones” from12:15 to 12:45 p.m. Juice and sodas will beprovided.

February 12 Sunday Afternoon Tour. ArtEducator Lucinda Edinberg will lead a tour of “Loïs Mailou Jones” at 3 p.m.

GATHER UP THE FRAGMENTS:THE ANDREWS SHAKERCOLLECTIONMARCH 2-APRIL 19March 2 Members Preview Reception. Be the first to view the “Andrews ShakerCollection” exhibition at this elegant wineand hors d’oeuvres reception from 5 to 7 p.m. By invitation only.

March 4 Opening Reception & FamilyProgram. Art Educator Lucinda Edinbergwill lead a tour of the “Andrews ShakerCollection” exhibition followed by ahands-on workshop from 3:30 to 5 p.m.

March 8 Lecture. Exhibition curatorChristian Goodwillie will discuss “GatherUp the Fragments: The Andrews ShakerCollection” at 7:30 p.m.

March 21 Seminar. St. John’s Tutor DavidTownsend and Artist Ebby Malmgren willlead an exhibition-related seminar at 7p.m. Space is limited. Registration isrequired. Call 410-626-2556 to register.

March 25 Sunday Afternoon Tour. ArtEducator Lucinda Edinberg will lead a tourof the “Andrews Shaker Collection” exhibition at 3 p.m.

March 29 Book Club. Join members ofthe Mitchell Gallery Book Club for a tourof the “Andrews Shaker Collection,”followed by a discussion of the book TheGreat Divorce: A Nineteenth-Century Mother’sExtraordinary Fight Against Her Husband, TheShakers, and Her Times, from 2:30 to 4:30 p.m. St. John’s tutor David Townsendwill lead the discussion. Registration is required. Contact Kathy Dulisse at 410-626-2530.

April 4 Art Express. Art Educator LucindaEdinberg will give a lunchtime gallery talkon the “Andrews Shaker Collection”exhibition from 12:15 to 12:45 p.m.

ST. JOHN’S COLLEGECOMMUNITY ART EXHIBITIONAPRIL 29-MAY 13April 29 St. John’s College OpeningReception. Celebrate the opening of the“Community Art Exhibition” with artistsfrom 3 to 5 p.m.

May 3 Book Club. Join members of theMitchell Gallery Book Club for a tour ofthe exhibition, followed by a discussion ofthe book Life Studies by Susan Vreeland,from 2:30 to 4:30 p.m. Anelle Tumminello,Coordinator of English for Anne ArundelCounty Public Schools, will lead thediscussion. Registration is required.Contact Kathy Dulisse at 410-626-2530.

IMAGE & IMAGINATION: ANNEARUNDEL COUNTY JURIEDEXHIBITIONMAY 24-JUNE 3May 24 Juried Artists Opening Reception.Celebrate the opening of the “AnneArundel County Juried Exhibition” withjuror Katherine Blood and artists from 4 to 6 p.m.

THE MITCHELLGALLERY WELCOMESITS NEWEST MEMBERS:Robert and Kathy Arias

Art Committee of Bay Woods

Mary L. Baker

Stephanie Blank

Gary Block

Frank and Judy Brennan

Katherine Burke

Margaret Burroughs

Peter Chamblis and Jane Campbell-Chamblis

Mary Cichon

William and Katherine Clatanoff

Robert Clopp

Temple Cone

Thomas Copsey

Kimbra Cutlip

Tom and Nina Dekornfeld

John and Scott Doran

James Gallagher

Penny Giddens

Robert and Carroll Greve

Margo Hammar

Frederick and Acacia Hunt

Karen Ippolito

Ken and Lisa Karstan

Jennifer Moore

Barbara Moss

Lamar and Helen Neville

Laura Oliver

Rina Pennacchia

L. Harvey and Josephine Poe

Christian H. Poindexter

Harold P. Pugh

Kenneth and Maureen Reightler

Douglas and Katherine Rigler

Raymono and Mia Russell

Edward B. Samuel

Everett and Barbara Santos

Jeffrey LaPides and Lynn Schwartz

Robert and Myrna Siegel

Lisa P. Simeone and Tim Munn

Mark and Lore Singerman

Susanne A. Sullivan

Annette Uroskie

Robert and Ann Whitcomb

Malcolm and Cecelia Wyatt

The Mitchell Gallery expresses its sincereappreciation to the following:Tricia and Mat Herban

Signcraft

JOIN THE MITCHELLGALLERY

For more information call 410-295-5551

or visitwww.stjohnscollege.edu/events and click on Mitchell Gallery.

DON’T MISS THEDEADLINE

for the fifth “Image & Imagination:Anne Arundel County Biennial

Juried Exhibition 2012”

March 12 is the postmark mailingdeadline or submissions may behand delivered to the Mitchell

Gallery between noon and 5 p.m.on March 14, 2012.

Celia Pearson’s Sea Glass as Still Life I won Best in Show atthe 2010 “Image and Imagination” Juried Exhibition.

Documents

Artline Winter 2012