Published by the New Hampshire Historical
Views: Art and Tourism in the White Mountains, 1850-1900, is
a full-color hardbound publication featuring thirty-seven
paintings and essays by thirty-three White Mountain art
historians and experts.
Download a printable
PDF of essay contributors or consult the list below.
Heidi Applegate wrote an introductory essay for Hudson River School
Visions: The Landscapes of Sanford R. Gifford (Metropolitan Museum of Art, 2003). Formerly of the
National Gallery of Art, she is now a doctoral candidate
in art history at Columbia University.
Wesley G. Balla is director of collections and exhibitions at the New
Hampshire Historical Society. He was previously curator
of history at the Albany Institute of History and
Art. He has published on both New York and New Hampshire
topics in social and cultural history.
Georgia Brady Barnhill, the Andrew W. Mellon Curator of Graphic Arts at the
American Antiquarian Society, is an authority on printed
views of the White Mountains. Her “Depictions
of the White Mountains in the Popular Press” appeared
in Historical New Hampshire in
William David Barry of the Maine Historical Society has published extensively
on Maine history and art history, including on Franklin
Stanwood in Antiques.
Formerly curator of research at the Portland Museum
of Art, he has worked on exhibitions for several Portland
Rebecca B. Bedell is assistant professor of art at Wellesley College.
She is the author of The Anatomy of Nature: Geology
and American Landscape Painting, 1825–1875 (Princeton
University Press, 2001).
Pamela J. Belanger, formerly curator of nineteenth-century American art
at the William A. Farnsworth Art Museum in Rockland,
Maine, is the author of Inventing Acadia: Artists
and Tourists at Mount Desert (Farnsworth; distributed by University Press of New England, 1999).
Roger E. Belson, a collector and researcher of White Mountain art, is
coauthor of the primary Web site on the subject, White
Mountain Art and Artists. He
also served as a guest curator for the exhibition Incomparable
Scenery (Belknap Mill Society, Laconia, New Hampshire, 1999).
Dona L. Brown is associate professor of history at the University
of Vermont. She is the author of Inventing New
England: Regional Tourism in the Nineteenth Century (Smithsonian,
1995) and A
Tourist’s New England: Travel Fiction, 1820–1920 (University
Press of New England, 1999).
Jeffrey R. Brown of Brown-Corbin Fine Art in Milton, Massachusetts, organized
the first comprehensive exhibition of the work of
Alfred Thompson Bricher in 1973, while serving as
curator of American art at the Indianapolis Museum
of Art, and wrote the accompanying catalog.
Erin Budis Coe, curator of The Hyde Collection in Glens Falls, New
York, is coauthor of Painting Lake George, 1774–1900 (The Hyde Collection, distributed by Syracuse University
Janice T. Driesbach is the director of the Sheldon Memorial Art Gallery
and Sculpture Garden at the University of Nebraska-Lincoln.
She is the author of Direct from Nature: The Oil
Sketches of Thomas Hill (Yosemite Association in association with the Crocker
Art Museum, 1997).
Donna-Belle Garvin is the editor of Historical New Hampshire and former curator of the New Hampshire Historical Society.
She is coauthor of the Society’s On the Road
North of Boston (1988), as well as of the catalog entries for its 1982
Shapleigh and 1996 Champney exhibitions.
Elton W. Hall produced an exhibition and catalog on New Bedford,
Massachusetts, artist R. Swain Gifford while curator
of the Old Dartmouth Historical Society. Now executive
director of the Early American Industries Association,
he has published also on White Mountain photographer
Alfred C. Harrison
Jr., president of the North Point Gallery in San Francisco,
has published extensively on California artists
and is writing a book about California art. He has
also produced compilations of art criticism from
selected nineteenth-century Boston and New York
John J. Henderson, a
collector and researcher of White Mountain art, is
coauthor of the primary Web site on the subject, White Mountain Art and Artists. He also served as a guest curator for the exhibition Incomparable
Mill Society, Laconia, New Hampshire, 1999).
Lauren B. Hewes, special assistant for graphic arts at the American Antiquarian
Society, was previously associate curator at the Shelburne
Museum in Vermont. She has also served as curator
on art projects for the New-York Historical Society
as well as for private collectors.
Jourdan Moore Houston of Durango, Colorado, is the author of “Francis
Seth Frost: Beyond Bierstadt’s Shadow” (American
Art Review, 1994); of biographies of the twenty founders of the
Boston Art Club; and of Faneuil’s Cousin:
Diaries of a Boston Artist, 1850–1864 (forthcoming).
Octavia H. Hughes of Cambridge, Massachusetts, and of Granite (in Ossipee),
New Hampshire, is an authority on the life and career
of Benjamin Champney, the subject of her doctoral
research in art history at Columbia University (in
Nancy Allyn Jarzombek, former managing director and director of research
at Vose Galleries of Boston, has written several catalogs
featuring New England artists. She previously served
as curator of painting and sculpture at the Herbert
F. Johnson Museum of Art, Cornell University.
Cheryl A. Kitsis served
as volunteer project researcher at the New Hampshire
Historical Society for Consuming Views: Art
and Tourism in the White Mountains, 1850–1900. She is a student of history
and political science at New England College in Henniker,
Ethan W. Lasser served as research assistant on the catalog for “Hudson
River School Visions: The Landscapes of Sanford R.
Gifford,” an exhibition mounted by the Metropolitan
Museum of Art in 2003. He is a doctoral candidate
in the history of art at Yale University.
Barbara J. MacAdam is the Jonathan L. Cohen Curator of American Art at
the Hood Museum of Art, Dartmouth College, Hanover,
New Hampshire. She was co-curator and essayist of “A
Sweet Foretaste of Heaven”: Artists in the White
Mountains, 1830–1930 (Hood
Museum of Art, 1988).
Frances S. MacIntyre
of Coral Gables, Florida, is the author of Women Artists
in the White Mountains, 1840–1940, the catalog for a special exhibition at the Hopkins Center, Dartmouth
College, Hanover, New Hampshire, in 1990, based
on her master’s thesis research at Dartmouth.
Kenneth W. Maddox, art historian for the Newington-Cropsey Foundation in
Hastings-on-Hudson, New York, is completing the compilation
of a catalogue raisonné of the paintings of
Jasper F. Cropsey. He has also published widely on
the railroad in the American landscape.
Robert L. McGrath, professor emeritus of art history at Dartmouth College,
is the author of Gods in Granite: The Art of the
White Mountains of New Hampshire (Syracuse
University Press, 2001), as well as of several other
works on White Mountain painting.
John W. Myers, associate professor of art at the University of North
Carolina at Wilmington, wrote as his doctoral dissertation, “Aaron
Draper Shattuck, 1832–1928: Painter of Landscapes
and Student of Nature’s Charms” (University
of Delaware, 1981).
Judith Hansen O’Toole, the director of the Westmoreland Museum of American
Art in Greensburg, Pennsylvania, has published most
recently Different Views in Hudson River School
University Press, 2005).
Jessica Skwire Routhier is the associate curator at the Portland Museum of Art,
Portland, Maine. She served as co-curator
for “Charles Codman: The Landscape of Art and
Culture in Nineteenth-Century Maine” (2002)
and contributed an essay to the catalog.
Michael W. Schantz is the Patricia Van Burgh Allison Director and Chief
Executive Officer of the Woodmere Art Museum in Philadelphia,
a museum specializing in art of the Philadelphia area.
He has published, among other works, the exhibition
catalog Edmund Darch Lewis, 1835– 1910.
Earle G. Shettleworth
Jr. compiled A Painter’s Progress: The Life, Work,
and Travels of Harrison B. Brown of Portland, Maine,
as Chronicled in the Portland Transcript, 1852–1899 (2005). He directs the Maine Historic Preservation
Commission and is Maine’s state historian.
Melinda Young Stuart of Barnardsville, North Carolina, is coauthor of Danish
Manor Houses and America: The Landscape Art of Ferdinand
Richardt (Søllerød Museum, Denmark, 2003). She was a curator at the Oakland
Museum of California, at The Henry Ford, and at
the United States Capitol.
Charles O. Vogel has served as guest curator and author of catalog essays
for New Hampshire Historical Society exhibitions on
White Mountain artists Frank Henry Shapleigh (1982),
Edward Hill (1989), and Benjamin Champney (1996).
He is an educator, collector, and researcher.
Caroline M. Welsh is chief curator and curator of art for the Adirondack
Museum; coauthor of In Search of a National Landscape:
William Trost Richards and the Artists’ Adirondacks (2002); and editor of Adirondack Prints and Printmakers (Syracuse University Press, 1998).