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	var	timeline_json = {"title":{"text":{"headline":"Without Pretense: Modernity and the Art of the Midcoast","text":"Maine has long held a reputation as a place to escape from modernity. As other places have\u00a0modernized, images of Maine continue to portray it as remote, bucolic, and pastoral. This is a story Maine tells itself about itself: that it is timeless, unadulterated, and classically rugged. Maine artists have been instrumental in the construction and maintenance\u00a0of this narrative, \u00a0regardless of its truth. The result is an imaginary that does not simply distort\u00a0Maine's character, but embellishes it."},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/BattlegroundPow.jpg","caption":"Andrew DeStaebler, Chang Zhang, Lucas Hickok, Luke Rector, Rebecca Gray","credit":false}},"scale":"human","events":[{"start_date":{"day":"01","month":"01","year":"1971"},"display_date":"1971","text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-24-at-10.18.11-PM.png","caption":false,"credit":"George Tice","thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-24-at-10.18.11-PM.png"},"background":{"color":"#cccccc"}},{"start_date":{"day":"01","month":"01","year":"1980"},"display_date":"1980","text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/PentecostPow.jpg","caption":false,"credit":"Peter Ralston","thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/PentecostPow.jpg"},"background":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/IMG_0553-e1477401499612.jpg"}},{"start_date":{"day":"01","month":"01","year":"1948"},"display_date":"1948","text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/christinas-world.jpg","caption":false,"credit":"Andrew Wyeth","thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/christinas-world.jpg"},"background":{"color":"#cccccc"}},{"start_date":{"day":"01","month":"01","year":"1960"},"display_date":"1960","text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/geraniums.jpg","caption":false,"credit":"Andrew Wyeth","thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/geraniums.jpg"},"background":{"color":"#cccccc"}},{"start_date":{"day":"01","month":"01","year":"1933"},"display_date":"1933","text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Coot-Hunter.jpg","caption":false,"credit":"Andrew Wyeth","thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Coot-Hunter.jpg"},"background":{"color":"#cccccc"}},{"start_date":{"day":"01","month":"01","year":"1886"},"display_date":"1886","text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-11.17.00-AM.png","caption":false,"credit":"Winslow Homer","thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-11.17.00-AM.png"},"background":{"color":"#cccccc"}},{"start_date":{"day":"01","month":"01","year":"1913"},"display_date":"1913","text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-11.17.07-AM.png","caption":false,"credit":"George Bellows","thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-11.17.07-AM.png"},"background":{"color":"#cccccc"}},{"start_date":{"day":"01","month":"01","year":"1920"},"display_date":"Circa 1920","text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-11.17.16-AM.png","caption":false,"credit":"Eric Hudson","thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-11.17.16-AM.png"},"background":{"color":"#cccccc"}},{"start_date":{"day":"01","month":"01","year":"2011"},"display_date":"2011-Present","text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-11-01-at-11.10.05-AM.png","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-11.25.27-AM.png"},"background":{"color":"#cccccc"}},{"start_date":{"day":"01","month":"02","year":"1886"},"display_date":"1886","text":{"headline":"Eight Bells","text":"Ultimately the namesake for N.C. Wyeth\u2019s Port Clyde home, this Winslow Homer oil painting acts as a sort of ode to Maine\u2019s unruly wilderness. This piece was created at the peak of America\u2019s Gilded Age, during which laissez faire policy allowed big business to boom in the wake of tremendous technological advancement. Yet beneath this glossy surface, a growing wealth gap between America\u2019s laboring and aristocratic classes festered. \u201cEight Bells\u201d is illustrative of rural Mainers\u2019 struggle to maintain not only economic security, but also an idealistic image of \u201crugged individualism\u201d, as referenced by Acheson\u2019s \u201cLobster Gangs of Maine\u201d, in this tumultuous time. Homer offers frothing saltwater as his backdrop in place of any land formation, conjuring emotions of intimidating isolation in his audience. Yet the two men featured here appear unconcerned; instead, they navigate the inclement weather with calm focus. They embody what Mainers strive to be: hearty."},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-11.17.00-AM.png"},"background":{"color":"#3b92dd"}},{"start_date":{"day":"01","month":"11","year":"2016"},"text":{"headline":"Works Cited","text":"<ul>\r\n \t<li><span style=\"font-weight: 400;\">Theroux, Paul. \u201cBetsy\u2019s World-Part I, Betsy Wyeth\u2019s Life on Benner Island, Off the Coast of Maine.\u201d <\/span><i><span style=\"font-weight: 400;\">Architectural Digest<\/span><\/i><span style=\"font-weight: 400;\"> 60, no. 6 (June 2003): 172\u2013183.<\/span><\/li>\r\n \t<li><span style=\"font-weight: 400;\">Tice, George. <\/span><i><span style=\"font-weight: 400;\">Painted Lobster Buoys, Stonington, Maine<\/span><\/i><span style=\"font-weight: 400;\">. 1971. Colby College Museum of Art, Waterville. In <\/span><i><span style=\"font-weight: 400;\">Colby.edu<\/span><\/i><span style=\"font-weight: 400;\">. http:\/\/www.colby.edu\/museum\/?s=Painted Lobster Buoys, Stonington, Maine&amp;obj=Obj5249?sid=43&amp;x=80384.<\/span><\/li>\r\n \t<li><span style=\"font-weight: 400;\">Wang, Nanfei. <\/span><i><span style=\"font-weight: 400;\">Fishing Season.<\/span><\/i><span style=\"font-weight: 400;\"> 2011. Dowling Walsh Gallery. <\/span><\/li>\r\n \t<li><span style=\"font-weight: 400;\">Welliver, Neil. <\/span><i><span style=\"font-weight: 400;\">Islands Allagash<\/span><\/i><span style=\"font-weight: 400;\">. 1979. Colby College Museum of Art.\u00a0<\/span><span style=\"font-weight: 400;\">Waters, Christina. \"MetroActive Arts | Neil Welliver: Contemporary American Landscapes.\" MetroActive Arts. March 15, 2000. <\/span><\/li>\r\n \t<li><span style=\"font-weight: 400;\">Wyeth, Andrew. <\/span><i><span style=\"font-weight: 400;\">Christina's World<\/span><\/i><span style=\"font-weight: 400;\">. 1948. Museum of Modern Art, New York City.\u00a0<\/span><span style=\"font-weight: 400;\">Kim, Hannah \"Museum of Modern Art | MoMA.\" The Museum of Modern Art. <\/span><a href=\"https:\/\/www.moma.org\/explore\/inside_out\/2012\/11\/21\/a-closer-look-at-christinas-world\/\"><span style=\"font-weight: 400;\">https:\/\/www.moma.org\/explore\/inside_out\/2012\/11\/21\/a-closer-look-at-christinas-world\/<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/li>\r\n \t<li><span style=\"font-weight: 400;\">Wyeth, Andrew. <\/span><i><span style=\"font-weight: 400;\">Coot Hunter<\/span><\/i><span style=\"font-weight: 400;\">. 1933. Olivia Shaler Swan Memorial Collection, Art Institute of Chicago. C., C. C. \"Andrew Wyeth Exhibition.\" <\/span><i><span style=\"font-weight: 400;\">Calendar of the Art Institute of Chicago<\/span><\/i><span style=\"font-weight: 400;\"> 61, no. 2 (1967): 1. doi:10.2307\/4112798.<\/span><\/li>\r\n \t<li><span style=\"font-weight: 400;\">Wyeth, Andrew. <\/span><i><span style=\"font-weight: 400;\">Geraniums. <\/span><\/i><span style=\"font-weight: 400;\">1960. Private Collection.\u00a0<\/span><span style=\"font-weight: 400;\">\"Olson House | Farnsworth Art Museum.\" Olson House | Farnsworth Art Museum. 2011. <\/span><a href=\"http:\/\/www.farnsworthmuseum.org\/olson-house\"><span style=\"font-weight: 400;\">http:\/\/www.farnsworthmuseum.org\/olson-house<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/li>\r\n \t<li><span style=\"font-weight: 400;\">Van Campen, Greta. <\/span><i><span style=\"font-weight: 400;\">A Year on Barter's Point Collection: Untitled. <\/span><\/i><span style=\"font-weight: 400;\">2016. Dowling Walsh Gallery.<\/span><\/li>\r\n<\/ul>"},"media":{"url":"","caption":false,"credit":false,"thumbnail":false},"background":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/IMG_0449.jpg"}},{"start_date":{"day":"01","month":"02","year":"1971"},"display_date":"1971","text":{"headline":"Painted Lobster Buoys, Stonington Maine","text":"<span style=\"font-weight: 400;\">In this photo, George Tice shows us a snapshot of a town that is fully invested in the lobstering industry. Boats and lobster traps have crept into the frame, blurring the lines between land and sea. Philip Conkling describes a similar scene in his book, <\/span><i><span style=\"font-weight: 400;\">Cold Coast: Island Communities. <\/span><\/i><span style=\"font-weight: 400;\">\u201cFrom the edge of the harbor you get to see the subtle rhythms of life on the water. Time and experience are different on islands\u201d (Conkling, 18). This picture shows us just how these rhythms of life operate on islands- a job is more than just a job here. Lobstering is a way of life, always present in a Mainer\u2019s existence, and it has been for decades. Although the industry itself has undergone change as a result of advanced technology and unstable markets, the image of the lobsterman and his trusty buoy has never wavered. The rugged individualist that is the lobsterman remains a symbol of defiance in Maine, one that is unwilling to give in to the encroaching world around him.<\/span>"},"media":{"url":"","caption":false,"credit":false,"thumbnail":false},"background":{"color":"#bd98e2"}},{"start_date":{"day":"02","month":"01","year":"1920"},"display_date":"1920","text":{"headline":"Manana","text":"Hudson\u2019s depiction of Monhegan\u2019s small and virtually untouched sister island exemplifies the bucolic idealism that has long drawn artists to Maine\u2019s remote island communities: the desire to capture their elusive charm. Yet what audiences are not shown here is the island opposite this scene, one that will ultimately become quite developed and tourist-oriented. In fact, Monhegan is perhaps the most pertinent example of the experience that privilege enables for Maine Islanders. Though known for their simplicity of experience, Maine\u2019s islands are expensive to steal away to, and cultivating a picturesque life there takes a subtle combination of work and luck of circumstance. Here we see the significance of selective subject matter, and the endeavors of Maine artists to feature only what fits a quaint, pastoral brand that feels accessible to everyone, even if it is not."},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/71f2d629641dada276616b41f3d398f7.jpg"},"background":{"color":"#a4e0a1"}},{"start_date":{"day":"02","month":"01","year":"1913"},"display_date":"1913","text":{"headline":"The Big Dory","text":"Here, Bellows captures a perpetual endeavor shared by both Maine\u2019s fishermen and artists: an attempt to capture an unyielding landscape. This struggle for control over landscape transcends the barrier between art and reality; just as the subjects of Bellows\u2019 painting band together to push a cumbersome boat among imposing crags, Bellows himself is challenged to convey an expansive and textured landscape both aesthetically and ideologically on canvas. Of course, he does so gracefully, with contrasting warm and cool hues, designed to highlight the juxtaposition of what is manmade and what is natural in the image, respectively. Yet perhaps what is most notable of this piece is its illustration of the value Maine places on community; surely all men pictured do not share ownership of the dory, but rather are helping a neighbor out. This is idyllic, and allows audiences nostalgia for simpler times, even if they may not have experienced them personally, and promises that such a world still exists in Maine."},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Herring_lo_res972x895.jpg"},"background":{"color":"#dd7373"}},{"start_date":{"day":"02","month":"01","year":"1933"},"display_date":"1933","text":{"headline":"Coot Hunter","text":"The Coot Hunter, painted in 1933, is one of Andrew Wyeth's first most famous paintings. It deviates from the style he is typically known for, and is painted with impressionistic watercolors. In this painting, Wyeth is quoted to be experimenting with the \"fleeting effects of light and movement.\" As consumers of this art, we are given a scene that speaks a lot to not only Maine landscape, but also the lifestyle of Maine. Moreover, we are able to see how Andrew Wyeth wants to represent Maine through his artwork. In this case, it is a hunter who is fully immersed, but almost dominated by the vast and intriguing land of Maine, which includes the ocean, the rocky coastline and an island dotted with pines in the distance. But none of this is visibly clear. In whatever style of art Andre Wyeth is using, he always manages to leave space for contemplation of the space itself. We are able to see what exactly is being painted, but the tactful lack of clarity and the subjects gaze into the distance pulls the viewer in to want to know more about Andrew Wyeth's thoughts, about what the man in the painting is thinking, and about the land of Maine."},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Coot-Hunter.jpg"},"background":{"color":"#5da4e2"}},{"start_date":{"day":"02","month":"01","year":"1948"},"display_date":"1948","text":{"headline":"Christina's World","text":"Christina's World is perhaps one of the most famous paintings to ever come out of the Maine art world. Painted in 1948 by Andrew Wyeth, the work depicts Wyeth's neighbor Christina Olson who had a severe case of Polio. Wyeth's style is referred to as magic realism, for creating a realistic representation of, most typically, a landscape scene that is painted in a way that gives the landscape a mystical, but not artificial feel. This painting's popularity rose in a time in America where the suburban class was thriving. Post-war consumerism, and the idea of settling down in a middle-class home and having a middle-class job with a family was the dominant mode of thought in America. Modernity was as potent as ever, yet Wyeth paints a different picture of America with his emphasis on open space and a natural essence. To Wyeth, Maine was an escape from the trap of modernity that the rest of America was falling into. To Wyeth, Christina Olson and her family provided him a lens through which to represent \"old Maine\"."},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/christinas-world.jpg"},"background":{"color":"#dd7373"}},{"start_date":{"day":"02","month":"01","year":"2011"},"display_date":"2011","text":{"headline":"Fishing","text":"<span id=\"m_7128714365644435299gmail-docs-internal-guid-fff2fff2-2034-767a-4a26-980f90d7baf9\">Nanfei Wang, a native of China, depicts the Rockland Breakwater in a panoramic oil painting. Nanfei moved to Rockland in 2011, bringing a valuable outside perspective on coastal culture. Here, she captures the mystery of what lies beyond the Rockland Breakwater Lighthouse by infusing fog and abstraction of color. The breakwater was built between 1881 and 1899 with 700,000 tons of granite. It has since been this symbolic figure between Rockland's harbor and more relentless open ocean. Nanfei's depiction of fishermen and the Breakwater captures this commercial intrigue into the local culture that visitors often feel at the Breakwater. It is a place dividing rough sea from calm waters, all dictated by man. And yet, it is weaved into the physical landscape and culture to seem very natural. Throughout fog and choppy waters, Wang sees locals braving the weather and fishing off of the rocks. Her rugged construction of the landscape appeals to the vacationing consumer who seeks out a less grand and fabricated place to spend their time. Wang has similarly fallen in love with this simplicity of coastal Maine. She loves the fog, the humid air, lobster traps and sailboats--she has felt the \"nature of the dream world\" that is so uncharacteristic of Beijing's hectic streets. Her work is dictated by this concept of a natural dream world that so many visitors become entranced by, whether it exists beyond the surface of the communities or not. <\/span>The Breakwater represents a cultural shift to the town of Rockland, as its function is commercial, but its appeal is recreational. The same object or place can be perceived very differently by locals and visitors; for lobstermen, the Rockland Breakwater is commercial, providing the harbor protection and the lobstermen a lighthouse when in need. Conversely, a visitor likely sees it as an artful construction made for walks on vacation. Artists have long enjoyed depicting the commercial aspects of midcoast Maine to consumers. This rift in perception of place can cause locals and visitors to clash and divide."},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-11.25.27-AM.png"},"background":{"color":"#efc77c"}},{"start_date":{"day":"02","month":"01","year":"1960"},"display_date":"1960","text":{"headline":"Geraniums","text":"<div dir=\"ltr\">Flash forward to 1960. Andrew Wyeth is still painting subjects from the same Maine family, the Olsons. Here we have potted Geraniums grown by Christina and placed on the window sill of their home in Cushing Maine, the same one that is in the background of\u00a0<i>Christina's World<\/i>. This painting has much less of an emphasis on nature in terms of its content, but at the same time it does. We are given the perspective of being outside this home, and can look through the home to the other side of the house where some pine trees are brightly lit in the background. The exterior of this home, which is in the foreground, is the antithesis of modern architecture. We see the weathered shingles of a farm house, which based on the history of Wyeth's paintings, has been around for over a few decades. While the window and the interior of this home are the true subjects of the painting, it is the outside of the home that is brightly sunlit. It is almost as if Christina is being called outside the home to interact with the outdoors. This painting's portrayal of home and family life is anything but typically American. The home, along with Andrew Wyeth's style of painting, remain timeless as America and its stylistic and technological trends move forward. Both the message and content of this painting speak towards a an experience of Maine that is separated and isolated from the Western world.<\/div>\r\n<div class=\"yj6qo ajU\"><\/div>"},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/geraniums.jpg"},"background":{"color":"#efb38b"}},{"start_date":{"day":"02","month":"01","year":"1980"},"display_date":"1980","text":{"headline":"Pentecost","text":"Though Betsy was trying to avoid modernized city life, she could not avoid using tools from the modernized world to help to build the \u201cultimate refuge\u201d\u00a0for her and her husband. In the 1980s, Ralston was assigned the job to clean the Northern part of the island and kept it open. He purchased some sheep from an island eight miles away with his \u201cAllen Island partner-in-crime,\u201d Philip Conkling. To transport the sheep to the island, they had to borrow a dory. Also, to construct a pond, which Betsy has a particular affection for, pond hollowing equipment was moved to the island. She created a representation of Maine\u2019s anti-modernity using implement evolved from modernization, which, to some extent, is a kind of irony."},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/PentecostPow.jpg"},"background":{"color":"#ffd6d6"}},{"start_date":{"day":"01","month":"01","year":"1991"},"display_date":"1991","text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/11\/Screen-Shot-2016-11-01-at-8.19.51-AM.png","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/11\/Screen-Shot-2016-11-01-at-8.19.51-AM.png"},"background":{"color":"#cccccc"}},{"start_date":{"day":"02","month":"01","year":"1991"},"display_date":"1991","text":{"headline":"Island Journal Cover","text":"This 1991 Island Journal cover image is exemplary of the romanticized image of Maine's remote coastal and island communities perpetuated by Conkling and Ralston's shared labor of love: the Island Institute. This incredibly popular publication, released yearly to hoards of eager Institute members, features interviews with local figureheads, updates on the progress of the Institute's current initiatives, and local photography, amidst ads for locally grown kelp and heirloom tomatoes. The Island Journal is representative of a distinctly antimodern perspective, presented in a medium designed to function within a world that embraces modernity. The renewable energy initiatives it lauds are printed next to photographs captured with highly advanced photography equipment, yet the message they convey asserts the opposite, providing readers (and potential donors) with a romantic image."},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/11\/Screen-Shot-2016-11-01-at-8.19.51-AM.png"},"background":{"color":"#4ca4e8"}},{"start_date":{"day":"02","month":"01","year":"1990"},"display_date":"1990","text":{"headline":"Islands Allagash","text":"Neil Welliver's work\u00a0<i>Islands Allagash\u00a0<\/i>(1990) proves his prowess as a realist landscape painter. Yet, while the aspect of realism seems so obvious in the painting, there is almost something surreal about it. The color palette and shadowless compositions provide an aesthetic that is not far from the pop art of David Hocknet. The feel of this painting is undoubtedly contemporary, but the subject is not. The fantastic and simultaneously realist nature of\u00a0<i>Islands Allagash<\/i>\u00a0makes viewers reconsider their relationship or understanding of the Maine landscape. It is physically accessible, but its divine essence is incomprehensible. The contemporary style in which this painting is done is relevant within the context of the art world in the 1990s. With the process of globalization on the rise in America, as well as the growing relevance of the internet and cable television, multiculturalism became a sign of the times. The art world became fragmented and disparate. The style of\u00a0<i>Islands Allagash\u00a0<\/i>exploits the artistic facets of modernism in order to represent Maine as a refuge from modernity itself."},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/11\/allagash.png"},"background":{"color":"#6374e2"}},{"start_date":{"day":"01","month":"01","year":"1990"},"text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/11\/allagash.png","caption":false,"credit":"Neil Welliver","thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/11\/allagash.png"},"background":{"color":"#cccccc"}},{"start_date":{"day":"01","month":"01","year":"2016"},"text":{"headline":"","text":""},"media":{"url":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-12.39.54-PM.png","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-12.39.54-PM.png"},"background":{"color":"#cccccc"}},{"start_date":{"day":"02","month":"01","year":"2016"},"display_date":"2016","text":{"headline":"A Year on Barter's Point Collection: Untitled","text":"In 2016, Greta Van Campen spent her time in her studio in Barter's Point, Tenants Harbor. Van Campen\u2019s work at Barter\u2019s Point is unique because her perception of the landscape is solely dictated by nature. She is fascinated by nature\u2019s influence on a single location. Her modern abstraction allows her to change a single landscape drastically through variance in colors and lines. While the practice of portraying Maine as a naturally untouched and sensational place remains unchanged through eras of art, the design and style has prominently evolved to modern consumer tastes. Her simplification of landscape romanticizes the palette at a point in time. Her work represents this consumer desire for raw coastline solely influenced by the wonderful forces of the sun, clouds, wind, and waves--untouched by man. Van Campen causes nature to be the guiding force in her images, free of human manipulation. The simplicity of the two men in the boat allows this piece to appear frozen by time; a similar depiction could have been painted 100 years prior. Her large landscapes of Barter's Point represent seasonal natural forces to the cove, while she diligently painted smaller landscapes to capture the allure of each hour of a single day. Landscape is changing in color, while physical place and space stagnates. Van Campen is inspired by these constant changes between both the changing seasons, as well as morning and night."},"media":{"url":"","caption":false,"credit":false,"thumbnail":"https:\/\/web.colby.edu\/allen-island\/files\/2016\/10\/Screen-Shot-2016-10-25-at-12.39.54-PM.png"},"background":{"color":"#dd5f5f"}}],"language":"en"};
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