School Programs at the Long Island Museum
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The Long Island Museum education department offers a wide variety of programs for kids in grades K through 12. Students explore 19th century American history and art in programs that support New York state and national learning standards. Check our schedule of summer programs designed especially for kids on page seven or visit our website at www.longislandmuseum.org for upcoming classes and events.
Director of Communications The Long Island Museum 1200 Rte. 25A, Stony Brook, NY 11790
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ABOUT THE MUSEUM
We are located at: 1200 Rte. 25A, Stony Brook, NY 11790 (631) 751-0066 • fax (631) 751-0353 www.longislandmuseum.org
Hours: Wednesday - Saturday, 10 a.m. - 5 p.m. Sunday, Noon - 5 p.m.
The Museum Gift & Book Shop is open daily, 10 a.m. - 5 p.m., Sunday Noon - 5 p.m.
Admission: Admission: Adults $7 Adults $5 Seniors (62+) $6 Seniors (60+) $4 Students (6-17) $3 Students (6-17) $3 College Students $3 College Students* $3 Children under 6 free *free on Wednesdays Museum Members free
Children under 6 free Museum Members free
The Long Island Museum, founded in 1939, is a privately funded 501(c)3 organization, registered with the Office of Charitable Organizations, State of New York. The Long Island Museum has been accredited by the American Association of Museums since 1973.
1. Children enjoyed coloring duck pictures recently in Geri Morgenstern’s “Warm as a Duck” Art Starts program in the Decoy Gallery of the History Museum. 2. Volunteer docent Bill Hausner demonstrates how a blacksmith shaped raw iron in 19th century America with these students from North Elementary School in Brentwood. 3. Students from North Elementary School aboard the Depot Wagon in our recreated Stony Brook village learn about early 20th century transportation with volunteer docent Elsie Erath. 4. Students who participated in our Vacation Ventures program in April learned about different artists and techniques and then got to create their own masterpieces. These kids practiced drips and spatters in the abstract style of Jackson Pollock.
Golf & Tennis Tournament July 10
The Long Island Museum staff and board of trustees invite you to join us on Monday, July 10 for the 10th Annual Golf & Tennis Tournament at the Nissequogue Golf Club in St. James. This year we are proud to honor Joseph Zangri, managing partner of Watermill Caterers in Smithtown. Joseph Zangri was born in Astoria, Queens and grew up in Selden, Long Island. His father owned La Grotta restaurant in Commack until his retirement in 1997. Today Watermill Caterers, under the direction of Mr. Zangri and his partners, Vincent Pugliese and William Lacal, continues its dedication to the finest cuisine and impeccable service while hosting over 900 corporate and social events each year. Please join us on July 10 in honoring Mr. Zangri for his dedication and service to the Long Island community.
Opening Receptions Welcome Museum Members
The museum hosted a member’s reception on April 28 to celebrate the opening of Tiffany by Design in the Art Museum and Raymond Loewy: Designs for a Consumer Culture in the History Museum. Both exhibitions have drawn a record number of visitors to the museum this spring and we were privileged to welcome five distinguished design experts (L to R): Jake Gorst, filmmaker Alastair Gordon, architectural historian Jon Michael Schwarting, architect and professor at New York Institute of Technology and Joshua Ruff, history curator Patricia Moore, MooreDesigns Glenn Porter, director emeritus for Hagley Museum and Library, who spoke at a design symposium – Raymond Loewy and Modern Design on Long Island – the following day.
Joseph Zangri, managing partner at Watermill Caterers will be honored at the 10th Annual Golf & Tennis Tournament as the 2006 Cultural Champion.
Holiday Celebration Raises Funds
The Long Island Museum rang in the holiday season at its 12th annual Holiday Celebration! gala on Saturday, November 5, 2005. Generous supporters enjoyed a dazzling evening and helped raise more than $120,000 for the museum’s exhibitions and education programs. The museum was proud to honor the late Paul Townsend, who was a long-time friend and supporter of the museum. The highlight of the black-tie gala was the silent auction, where guests bid on more than 300 decorative items, including many original works by Long Island artists. The exhibit featured the Americana Christmas tree, sponsored by Jefferson Resources of Shoreham. The museum thanks Terry Townsend, Farrell Fritz, Damianos Realty Group, Educare, Inc., Island Financial Group, Marsha and Henry Laufer, Ramp Truck and Bus Center, Safe Harbor Title Insurance, Bank of Smithtown, Brookhaven National Laboratory, Daniel Gale Agency, Long Island Commercial Bank, Walter and Linda Rothschild, State Bank of Long Island and Zere Real Estate Services, Inc.
Thank You to our Supporters
The Long Island Museum would like to thank the following supporters for helping us in our mission to inspire understanding and appreciation of Long Island’s heritage.
•Suffolk County under the auspices of the Office of Film and Cultural Affairs awarded a $23,000 grant to support Raymond Loewy: Designs for a Consumer Culture and Down the Isle: Wedding Traditions on Long Island. •Suffolk County Legislator Vivian Viloria-Fisher secured a $23,000 grant to support the museum’s education programs. •The McCormick Tribune Foundation awarded a $16,000 grant to support the museum’s education programs. •King Kullen contributed $7,500 to support the 2006 Family Fun Weekends. •Astoria Federal Savings has contributed $6,000 to support Down the Isle: Wedding Traditions on Long Island and Family Fun Weekends. •LIWeddings.com contributed $5,000 to support Down the Isle: Wedding Traditions on Long Island. •New York Council for the Humanities awarded a $2,500 grant to support the symposium: Raymond Loewy and Modern Design on Long Island. •CM Richey Electrical Contractors, Inc. contributed $2,500 in support of Tiffany by Design: The Art of Louis Comfort Tiffany. •Wal-Mart awarded a $2,500 grant for general operating support. •Three Village Inn contributed $2,500 to support Down the Isle: Wedding Traditions on Long Island. •Long Island Power Authority contributed $1,500 in support of Tiffany by Design: The Art of Louis Comfort Tiffany. •Early American Industries Association awarded a $1,000 grant to support the making of an educational video.
The Old Field Club Hosts Jazz Brunch 2006
Top: The Modern Age Quintet provided entertainment for this year’s Jazz Brunch, held March 26 at the Old Field Club in Setauket. (L to R): band members Chuck Adler, bass Steve Cassidy, drums Remy D’Esposito, tenor saxophone Rich Avanzini, guitar and John D’Esposito, keyboards. Bottom: Enjoying this year’s Jazz Brunch, (seated L to R): Mark Mancini, Cris Damianos, Cris Damianos, Jr., Ginny Damianos, Bonnie Rampone. Standing: Theresa Mancini, John Tsunis, Laura Tsunis, Ayser Kus, Chris Cooper, Chuck Rampone.
Wedding of Marcia and Verne L. Rockwell, Smithtown, 1910. Courtesy Smithtown Historical Society.
Down the Isle, continued from page 1
The exhibition is organized into six separate sections. “The Wedding March” places 10 costumed mannequins in a decade-by-decade context, exploring the changes in wedding fashions over time. An evocative timeline will be paired with the wedding dresses. Objects nearby will include colorful nineteenth century men’s waistcoats and an entire case of items sure to bring “oohs” and “aahs”…intricate and exquisite wedding shoes. “Something Old: The Early Rural Long Island Wedding” discusses the changing wedding patterns of both pre-Victorian and Victorian years on Long Island. The biggest highlight in this section will be a late 1820s outdoor wedding vignette, with a bride’s dress from an 1828 Middle Island wedding and an 1825 pleasure wagon from the museum’s carriage collection. In the 1700s and the 1800s, Long Island weddings gradually became more elaborate. Still, by the 1890s, local couples often planned their weddings in days and weeks, not months and years, as a series of invitations from Riverhead to Brooklyn illustrates. “Not All Brides Wear White” focuses on what motivates brides, across the ethnic and cultural spectrum, to choose not to wear the traditional white wedding dress, which first became solidly mainstream in the years after Queen Victoria’s 1840 wedding. This section includes a rare motherdaughter selection of wedding
dresses: the mother, Charlotte Overton, wore a brown and turquoise dress in her Coram wedding of 1860. The daughter, Nellie Randall, wore an electric blue dress during her 1886 wedding in Middle Island. Different colors take on different cultural meanings, as a red, heavily metallic embroidered dress worn by an Indian American bride in her 2003 Old Brookville wedding illustrates. “Something New: The Modern Long Island Wedding” brings the story through the twentieth century, from the simpler weddings of the Great Depression and World War II to the “mortgage-your-house weddings” of today. A scene of a 1920s wedding photographic studio, with figures posed in a studio setting, will be the highlight of this area. This portion of the exhibition also considers the impact of gay weddings on Long Island, a topic of increasing importance over the last several years. The section will also have film clips from Long Island weddings assembled over the last 80 years, as well as an area for people to post memories of their own wedding stories…both the crazy and the sublime are welcome! “Here Comes the Bill: The Long Island Wedding Industry” will give visitors an awareness of how companies have grown in accord with the more elaborate weddings of the postwar years. Companies oriented around different aspects of the wedding ceremony actually started on Long Island around the
time of the Civil War. However, it wasn’t until recently that the trappings of a more formal wedding – the Hummer limousines, the decadent floral arrangements, the chocolate fountains, all at stunning Long Island banquet hall venues – became part of normal nuptials. The star objects of this section will be two wedding cake models, designed by the cake designer Sugar, Sugar of Westhampton, displayed side-byside. One cake will be a large, 36” high modern cake from today; the other will be a simpler, smaller Victorian-style 24” high cake. The point is that weddings have long had a glamorous and commercialized side. But this aspect is more visible (and perhaps more extreme) today than ever before. “You Must Remember This: Wedding Anniversaries” is the final section of the exhibition. Visitors will love this special area dedicated to couples’ stories: a set of 10 photographs from Long Island couples, both in their just married phases and more recently, will be juxtaposed in two rows. But it will be up to visitors to choose who became who…to pull a door and see if they are right, along with a story of that couple’s life in recent decades. Down the Isle will have visitors storming down the aisle to get their tickets this summer—lined up to see the history of this most memorable day in our lives.
(Top): In early weddings, brides were known to wear blue or “tea” brown dresses. Marriage portrait of Margaret Tyers and George Rogers, England, c. 1755 (detail). Paul Mellon Collection, Yale Center for British Art. (Bottom): Preeti Mattoo in a heavily embroidered wedding dress, 2003. Courtesy Tina Mattoo.
ow do you define an artist who defies classification? An artist whose vast work product cannot be pigeonholed into one specific period or style? An artist whose approach to art responded to the ebb and flow of six decades of change? George Constant worked in all mediums throughout his 60-year career and excelled in painting, watercolor and etching. Always vibrant and expressive, his art is at times experimental and other times conventional. Yet at all times Constant was an artist whose primary goal was to explore man’s relationship with his natural surroundings. His thematic approach remained the same; his uniqueness lay in his style and technique. Born George Constantinopoulos in Arahova, Greece, in 1892, the future artist lost both parents at the age of four, and afterward was sent to live with his uncle, the abbot of the Eleusa Monastery in Aegion, Greece. Here, George was drawn to the stern eyes of Byzantine icons. Enamored by the rich colors and bold lines of the figures, he later incorporated their compositional elements into his artwork. At age 18 Constant came to the United States, having resolved to become an artist. He first went to St. Louis, where he enrolled in the School of Fine Arts at Washington University. Two years later, in 1914, he was given a scholarship to attend the Art Institute of Chicago, where he studied with renowned artists and teachers George Bellows and Charles Hawthorne. Later he transferred to the Dayton Art Institute to complete his studies. In 1922, Constant moved with his family to New York where he divided his time between Manhattan and houses in the country, first in Connecticut and later Southampton, Long Island. In the latter part of his life, until his death in 1978, his Southampton studio became his chief workplace. In New York City, Constant was overwhelmed by the vast urban landscape and the people who traveled in his artistic circles. He had his first one-man show in 1927 and maintained relationships with Manhattan galleries for the next fifty years. The work he exhibited early in his career consisted primarily of abstracted figures that showed his admiration for Paul Cézanne and pre-Columbian art. Later his work evolved into complete abstraction of figures and landscapes. In contrast, Constant’s work on Long Island is largely representative of his love of the outdoors. He was an avid gardener and outside Manhattan it was easier to see the fine details in the flowers and the trees. Nothing escaped his observing eye; his daughter, Georgette, remembers, “Whenever we walked through a meadow together, my father was the first to spot a wildflower in the tall grasses, no matter how tiny its petals. New England aster, fleabane, tansy and ironweed all went into his palette.” Constant’s love of nature was not exclusive to terra firma; during the late 1940s he began a nearly thirty-year obsession with the sky and outer space. Sunsets and sunrises, fragmented light patterns seen in the sky, and even spacemen began to take up residence on his canvas. As a complement to the Long Island Museum exhibition, a selection of drypoints by George Constant has been chosen to accompany his paintings. During the early years of the Depression he was commissioned by the WPA to complete a series of drypoints for commercial reproduction, in which he explored a variety of themes, from urban landscapes to seaside scenes, from children at play to figure studies and still lifes. During the 1930s he undertook a large series of portraits, executed in drypoint of American artists, writers and musicians, among them artists John Sloan and William Zorach and the pianist Sergé Kagan.
Geese, 1948. Courtesy of Georgette and David Preston.
an artist’s odyssey
Constant’s Greek heritage and the early influence of Byzantine icons is best seen in a series of etchings he did of his daughter. Young Georgette is depicted wide-eyed with strong features and bold facial expressions, much in the way her Greek ancestors had depicted religious figures in icons and statuary. Constant successfully combined those strong compositional elements with the genuine love and affection he felt for his family, bringing a sense of humanity and kindness to his work. Georgette remembers her father in these lighter family moments: “He was light and swift on his feet, and when he led the Greek dances he always managed an extra skip.” George Constant’s art has been appreciated by thousands, and his list of accomplishments is long. He is represented in the collections of more than 35 museums throughout the United States – including more than 500 watercolors and etchings and two oil paintings owned by the Long Island Museum, gifts of David and Georgette Constant Preston.
mericans were cautiously optimistic at the beginning of the nineteenth century. The Revolutionary War was a recent memory and the future of the country seemed uncertain. But talented painters helped to promote the image of the hardy American character and by mid-century the success of the country seemed more secure. The work of two artists contributed to this optimistic spirit. The brilliant genre painter William Sidney Mount (1807-1868) and his portrait painter brother Shepard Alonzo Mount (18041868) would create art that was a direct reaction to the political, social and economic forces that drove their lives. Painters for a New America is an exciting new exhibition that showcases more than 125 paintings and prints by the Mount brothers. Divided into six sections, the show opens with a section on their early influences and training at the National Academy of Design in New York City, the best art education
available in the United States at that time. Student drawings and Academy schoolbooks are displayed alongside their early paintings. The exhibition continues with the artists’ early successes. By the mid-1830s William became a recognized genre painter and Shepard was making a good living as a portrait artist. Wellknown works are exhibited alongside the Mount brothers’ lesser-known paintings. Preparatory sketches and drawings from the Long Island Museum’s extensive archives supplement the paintings. As an added bonus, a never-before-seen early painting by William Sidney Mount will be on view for the first time. The Mount Family is one of the artist’s few trompe l’oeil works and was considered lost for nearly eighty years, but it recently resurfaced in a New England antique shop. It had been badly damaged in a fire, but is still considered a valuable document to curators and art historians. Professional conservation has enabled the painting to be displayed in this exhibition. By the 1840s and 1850s, both artists were well established and highly respected painters. Commissions were plentiful and, due to a flourishing print market, more and more Americans saw their paintings. William’s musician-themed paintings, such as Just in Tune, and Shepard’s “fancy portraits,” such as Rose of Sharon, were reproduced for the American and European print markets. The Mounts’ artistic output waned by the Civil War. Each was distracted by the conflict and their paintings were of a lesser quality. They returned to painting at the end of the war but their themes and styles were not as sophisticated as they once had been.
Shepard Alonzo Mount
William Sidney Mount
Shepard Mount died of cholera in September of 1868. William Sidney Mount responded to letters of condolences from his brother’s friends and past patrons and arranged a final showing of his works at the National Academy in November of that year. Shortly after his return to Long Island, William died of pneumonia on November 18, only two months after his brother. Painters for a New America: Works by William Sidney Mount and Shepard Alonzo Mount is on display in the Art Museum from June 24, 2006 - February 18, 2007.
An important trompe l’oeil painting by William Sidney Mount will be displayed for the first time since its recovery and professional conservation. The painting was considered lost for nearly eighty years, but recently resurfaced in a New England antique shop.
Dance Through the Decades Party • June 24, 2006 • 7 p.m. Instructors from Arthur Murray Dance Studios give demonstrations on popular dance steps from the past. $30/person $50/couple. Call 631 751 0066 x263 for more information. 10th Annual Golf & Tennis Tournament • July 10, 2006 Call 631 751 0066 x247 for more information. 22nd Annual Fiddle Festival • August 27, 2006 • Noon - 5 p.m. Call 631 751 0066 x212 for more information. Sponsored in part by the D’Addario Foundation. Holiday Celebration! Gala • November 4, 2006 Call 631 751 0066 x247 for more information.
Drawing & Painting with Artist Elizabeth Greaf
July 5 7 • 1 3 p.m. $100/student $90/member
Make Your Own Movie! Exploring Acrylics
August 8 10 • 1 3 p.m. $90/student $80/member
Session I: July 17 28 • 10 a.m. Noon • Session II: July 31 August 11 • 10 a.m. Noon $225/student $200/member
Creating With Clay Cartooning
July 25, 27 • 1 3 p.m. $90/student $80/member
Session I: July 17, 19, 21• 1 3 p.m.• Session II: July 31, August 2, 4• 1 3 p.m. $60/student $50/member
Pre-registration with payment is required. Refunds will be issued only if the program is canceled. For more information, call (631) 751-0066, ext. 212, Monday-Friday, 9 a.m.- 5 p.m.
July 11 13 • 1 3 p.m. $60/student $50/member
Ages 3 1/2 - 5
Session I: July 17, 19, 21 • 10 a.m. Noon Session II: July 24, 26, 28 • 10 a.m. Noon $75/student $60/member
Children's programs sponsored, in part, by
Ages 5 - 7
The Art of Imagination
Session I: July 10 14 • 10 a.m. Noon Session II: August 7 11 • 10 a.m. Noon $125/student $110/member
King Kullen Family Fun Weekends!
July 8, 9 • August 5, 6 • October 28, 29 • Noon 5 p.m. Carriage rides, petting zoo, crafts, storytelling & more!
Be a Member!
To become a member or to renew or upgrade your current membership please complete the form below and send it along with your payment to: The Long Island Museum • 1200 Rte 25A , Stony Brook, NY 11790 1992 Attn: Membership Department
The Long Island Museum to Launch New Business Membership Program
An investment in the Long Island Museum as a Business Member is an investment in the cultural vitality of the region that will yield tangible returns. The staff at the Long Island Museum are making a new commitment to working with area businesses and corporations to provide relevant programs, services and benefits for our Business Members.
I / We will ❍ join ❍ renew ❍ upgrade
❍ Student/Senior Citizen ($25) ❍ Individual ($40) ❍ Dual/Family ($60) ❍ Contributor ($100) ❍ Sponsor ($250) ❍ Patron ($500) ❍ President’s Council ($1,000) ❍ Carriage Circle ($2,500)
As it should appear on membership card(s)
Street___________________________________________________ City __________________________ State _____ Zip _________ Phone __________________________________________________ Email ___________________________________________________ ❍ Check enclosed – payable to The Long Island Museum or ❍ Charge my/our ❍ ❍ ❍ Card No._________________________________________________ Exp. Date_________________________________________________ Signature___________________________________ Date__________
“Forward thinking businesses that work with the arts as collaborative partners are realizing measurable gains – financial and otherwise…”
Regional marketing and promotional efforts, business to business networking events, custom tailored corporate programs, and exclusive guided tours of first class exhibitions are all available for your staff and employees. Call Membership Judith A. Jedicki, President, Associate Alexandra Higgins at 631-751-0066 ext. 263 today to Business Committee learn more about the benefits for the Arts, Inc. and value of a Business Membership at the Long Island Museum.
Studebaker Carriages to be Featured in New Gallery
This fall the Long Island Museum will unveil a major new exhibition exploring – in part – the transition from carriages to automobiles. The Long Island Museum is known nationally and internationally for its collection of carriages, ranging from lowly work vehicles to the grand coaches of the wealthy. Among these treasures are seven carriages made by Studebaker Brothers. And this is as it should be, for Studebaker was one of the largest and most important manufacturers of carriages in the world. Studebaker marketed its first cars in 1902 – and we are fortunate to have located a prime specimen from that very first year – an electric “Victoria Phaeton,” on longterm loan from the Studebaker National Museum. This is a veritable horseless carriage – basically a carriage body and chassis with an electric motor to take the place of Dobbin. Through the new display, visitors will explore how carriages evolved into cars, and come to appreciate the huge debt today’s automotive industry owes to America’s carriage-manufacturing pioneers – including the five Studebaker brothers.
Rockaway carriage by Studebaker Brothers Manufacturing Co., South Bend, Indiana, c. 1890. Gift of F. M. Kirby.
June 3 - October 22, 2006 Down the Isle: Wedding Traditions on Long Island June 17 - September 10, 2006 George Constant on Long Island: An Artists’s Odyssey June 24, 2006 - February 18, 2007 Painters for a New America: Works by William Sidney Mount and Shepard Alonzo Mount
Find out more about The Long Island Museum at www.longislandmuseum.org
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PERMIT #45 STONY BROOK, NY 11790 1992
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