EARL CUNNINGHAM: American Fauve - Heather James Fine Art
EARL CUNNINGHAM: American Fauve - Heather James Fine Art
EARL CUNNINGHAM: American Fauve - Heather James Fine Art
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<strong>EARL</strong> <strong>CUNNINGHAM</strong><br />
<strong>American</strong> <strong>Fauve</strong>
Published on the occasion of the exhibition<br />
<strong>EARL</strong> <strong>CUNNINGHAM</strong>: <strong>American</strong> <strong>Fauve</strong><br />
September 8 - October 29, 2011<br />
<strong>Heather</strong> <strong>James</strong> <strong>Fine</strong> <strong>Art</strong><br />
172 Center Street, Suite 101<br />
Jackson, Wyoming 83001<br />
November 25, 2011 - April, 2012<br />
<strong>Heather</strong> <strong>James</strong> <strong>Fine</strong> <strong>Art</strong><br />
45188 Portola Avenue<br />
Palm Desert, California 92260<br />
Catalogue designed by Timothy Tompkins<br />
www.heatherjames.com
<strong>EARL</strong> <strong>CUNNINGHAM</strong><br />
<strong>American</strong> <strong>Fauve</strong><br />
45188 Portola Avenue Palm Desert, CA 92260 760-346-8926<br />
PO Box 3580 172 Center Street Suite 101 Jackson, WY 83001 307-200-6090<br />
www.heatherjames.com
1893-1977
INTRODUCTION<br />
Michael A. Mennello<br />
Earl Cunningham is a miraculous artist and a true <strong>American</strong> <strong>Fauve</strong> and I am extremely excited to have selected <strong>Heather</strong> <strong>James</strong> <strong>Fine</strong> <strong>Art</strong> to<br />
share this important collection of <strong>American</strong> art with the world. The gallery’s stature and reputation are a perfect compliment to the legacy<br />
of Earl Cunningham. My wife and I began our collection of Cunningham’s work in 1969 with Marilyn purchasing a painting directly from<br />
the artist. Following Cunningham’s death, we began a quest to purchase as many paintings as possible, eventually capturing the majority of<br />
Cunningham’s 405 known works. Passionate advocates of Cunningham, we dedicated our time and resources to restoring the paintings and<br />
preserving the artist’s legacy. In 1998, we opened the Mennello Museum of <strong>American</strong> <strong>Art</strong> with a core group of Cunningham paintings central<br />
to the museum and continuously on display.<br />
Earl Cunningham and Marilyn Logsdon Mennello in front of the Over Fork Gallery, 1970.<br />
Photo by Lynda Wilson<br />
10
INTRODUCTION<br />
Chip Tom - Curator<br />
Twenty years ago while living and working in Switzerland, I was introduced to the wonderful paintings of Earl Cunningham at the U.S.<br />
Embassy. Although visiting the ambassador on other official business, I could not stop staring at the Cunninghams. These paintings were<br />
quintessential <strong>American</strong>, and perfect representatives of U.S. art from the twentieth century. Cunningham depicted the Eastern seaboard in a<br />
personal style that included unique scale changes and bold usages of color. When looking at the representational paintings and breaking them<br />
down into large blocks of color they are very modern and fresh. It is a pleasure and honor for <strong>Heather</strong> Sacre, <strong>James</strong> Carona and myself to be<br />
working with this incredible material. We would like to thank Michael Mennello and his late wife The Honorable Marilyn Logsdon Mennello<br />
for the opportunity to continue to promote the legacy of this important <strong>American</strong> <strong>Fauve</strong>.<br />
Brick Lighthouse on the Bluff<br />
c. 1970<br />
oil on fiberboard<br />
16 1/2 x 23 inches<br />
Exhibited:<br />
Geneva, Switzerland, United States Mission,<br />
Embassy Residence - Ambassador and Mrs. Morris Abrams,<br />
United States Department of State, <strong>Art</strong> in Embassies Program, 1992<br />
11
<strong>EARL</strong> <strong>CUNNINGHAM</strong>’S<br />
SELF-TAUGHT MODERNISM<br />
Robert Hobbs<br />
The paintings of the Maine-born self-taught marine painter Earl Cunningham (1893-1977)<br />
are distinguished for incorporating significant aspects of mainstream modern art, particularly<br />
the high keyed coloristic work of the Post-Impressionist Vincent Van Gogh and the French<br />
<strong>Fauve</strong>s. Known for his visionary scenes of both Maine and Florida, Cunningham created an art<br />
that belies the once widely endorsed view regarding self-taught art’s presumed lack of erudition.<br />
Although he was certainly an autodidact in his art and semi-literate, as his occasionally recorded<br />
personal journal testifies, Cunningham’s work is not lacking in sophistication, and he himself<br />
was not unaware of mainstream avant-garde art developments, as his own art so clearly indicates.<br />
Since the 1920s Cunningham maintained a messianic zeal about his work, an approach<br />
most clearly appreciated by considering his great desire to have a museum devoted to it. 1<br />
Although he might have joked about this imaginary museum, he was also deadly serious about<br />
it and his identity as an artist. Often he would wear a beret as a way of reinforcing his artistic<br />
identity, and when he painted, he would don an artist’s smock with a crest emblazoned on its<br />
back. The crest, with the addition of the words “Over Fork Over,” was the same family seal he<br />
himself had devised and used to advertise the gallery comprised of his paintings, located next<br />
door to his antique shop.<br />
The museum as the legitimate future repository for Cunningham’s paintings can be<br />
credited as a basis for his great desire to achieve a range of subjects in his marines, to create a<br />
wondrous sense of fantasy about the past, and to achieve a subtle and disarmingly charming<br />
critique of the present, thereby representing in his art a renewed symbolic genesis of the<br />
United States’ history. His paintings re-create aspects of an idealized and fanciful past to<br />
provide halcyon views of what America could have been and might still be. In many paintings<br />
Cunningham symbolically reenacts America’s beginnings by bringing early Norse explorers<br />
and Native <strong>American</strong>s together with the late–nineteenth- and early-twentieth-century sailing<br />
vessels of his youth. To reinforce the great antiquity of the Norse ships, the artist would often<br />
paint patches on their sails.<br />
The sense of nostalgia pervading these works is key to the way Cunningham re-presents<br />
the world rather than merely reflecting it. Although the term “memory painter” is often used<br />
for such individuals as Cunningham, in his case it is particularly confusing because it suggests<br />
his creations are mere reflections of his youth rather than highly symbolic, even necessary<br />
reconstitutions of it. Calling him a memory painter trivializes and invalidates his creations,<br />
implying his broad cultural reassessments are merely charming and inaccurate recollections.<br />
preferred to call him an “<strong>American</strong> <strong>Fauve</strong>” after the early twentieth-century group of French<br />
colorists around Henri Matisse. While Cunningham was innocent of such established academic<br />
techniques as one-point perspective and classical ways of rendering human anatomy, he was<br />
sophisticated in employing a number of ideas germane to modern art, so his naiveté was very<br />
knowing.<br />
When Cunningham signed a painting “<strong>American</strong> Primitive” 2 and later when he had<br />
business cards printed with the designation “Primitive <strong>Art</strong>ist,” he set up tensions between<br />
intuitive art and tongue-in-cheek postmodernist practices—those knowingly ironic approaches<br />
often taking specific artistic categories and genres as subjects for their work—and he did so<br />
decades before postmodernist art was developed and ratified as a critical approach. His self<br />
-awareness of his special contradictory status indicates a sophistication at odds with the usual<br />
expectations concerning vernacular artists, and this acute understanding of being both an insider<br />
and an outsider points to the fluidity of language in the twentieth century, when naiveté and<br />
sophistication are not always polarities.<br />
By employing the term “Primitive <strong>Art</strong>ist” to refer to himself, Cunningham doubles the<br />
codes for vernacular art with the goal of employing one to reinforce the other. This designation,<br />
however, which is characteristically used by a member of the mainstream culture to refer to<br />
someone who is marginalized, serves the reverse function in Cunningham’s case of questioning<br />
the authenticity of his work. The doubling of sophisticated and vernacular codes continues to be<br />
evident in his re-appropriation of the so-called folk-art forms employed by many modern artists,<br />
including the <strong>Fauve</strong>s, and in his reliance on the tradition practiced by Edward Hicks, Grandma<br />
Moses, and Joseph Pickett. Depending on one’s point of view, Cunningham’s approach can be<br />
considered an appropriation of modernism, a re-appropriation of the vernacular that modern art<br />
itself had appropriated, a revival of the <strong>American</strong> folk-art tradition as seen in the works of Hicks<br />
and others, and a survival of the nineteenth-century traditions Cunningham himself continues.<br />
Of course, his tactic is representative of all these attitudes, considered singly or in combination.<br />
Although Cunningham was self-taught, he was definitely not naïve; and although he was selfaware<br />
of his status as a vernacular artist, he remained an intuitive painter who attempted to<br />
synthesize his experiences in a visual form. Thus, Cunningham was both marginalized and<br />
mainstream at the same time. Perhaps, because of this contingent status, Cunningham put<br />
a great deal of emphasis on his handmade frames, modeled on nineteenth-century <strong>American</strong><br />
Empire-style ogee ones, so that they were imposing enough to circumscribe and separate his<br />
Left: Earl Cunningham in the gallery of his shop, 1970. Photo by Jerry Uelsmann<br />
13
world by maintaining it as special and semiprivate preserve.<br />
Although the noted <strong>American</strong> surrealist photographer Jerry Uelsmann, who<br />
documented in 1970 Cunningham’s antique shop, studio, and gallery for the artist’s first museum<br />
exhibition at the Loch Haven <strong>Art</strong> Center in Orlando (now the Orlando Museum of <strong>Art</strong>) could<br />
not “imagine Cunningham reading art books,” 3 the artist did come in contact with modern art<br />
through a number of sources, including printed matter, and embraced a number of its tenets in<br />
his painting. Even though he may have picked up ideas from the comments and questions of<br />
customers visiting his antique shop, Cunningham most likely became acquainted with modern<br />
art from the surprising number of articles on the subject published in Life magazine, beginning<br />
in the late 1930s. Uelsmann remembers seeing sacks of Life, Collier’s, and National Geographic<br />
magazines in Cunningham’s antique shop, “so many in fact that it was dangerous.” 4<br />
In addition to Life, Cunningham had the opportunity to know some modern works<br />
of art through large second-hand framed reproductions he sold in his shop. In one Uelsmann<br />
photograph of Cunningham’s shop, there is a reproduction of a late Maurice de Vlaminck being<br />
offered for sale. Considering the presence of this image in the shop, it is possible Cunningham<br />
sold, over the years, reproductions of many popular works by Vincent van Gogh, Matisse, and the<br />
Impressionists that were widely circulated at the time. Repeated access to these reproductions<br />
would have exposed him to some basic modern art concepts such as a high-keyed color palette,<br />
and this familiarity helps to explain the penchant for saturated hues in his own paintings.<br />
Cunningham could have also come in contact with basic attitudes about modern art<br />
found in such Walt Disney animated films as Snow White and the Seven Dwarfs (1937) and<br />
Fantasia (1940). Since he made paintings of Disney’s seven dwarfs at some point between<br />
the late ‘30s and early ‘50s, he was no doubt acquainted with the film, the intensity and range<br />
of its colors and its sense of fantasy. 5 Because Cunningham did not accept commissions,<br />
the decision to re-create images of Disney’s dwarfs, without doubt, was done under his own<br />
initiative. Cunningham’s knowledge of this film is crucial to an understanding of his overall<br />
work because it indicates a familiarity with expressionistic ideas, particularly evident in the<br />
forest scene early in the film when the huntsman takes Snow White outside the palace and<br />
deserts her. In this segment, the forest assumes some characteristics of Charles Burchfield’s<br />
early whimsical paintings, particularly the device of repeating outlines around trees and plants to<br />
suggest spiritual emanations and sometimes to reveal incipient anthropomorphic features. Even<br />
though the latter do not occur in Cunningham’s work, his staggered sets of outlines are readily<br />
apparent in some early paintings and are relevant to his overall style. This stylistic device<br />
found in Burchfield’s work and some of Disney’s films is indicative of Cunningham’s indirect<br />
connections with both synaesthesia and the art of Russian Expressionist Wassily Kandinsky,<br />
who wished to establish equivalences between color, shape, and sound, and in Cunningham’s<br />
work it points to the artist’s attempt to move beyond surface appearances in order to reveal<br />
a more profound cross-section of the world he was conjuring in his paintings. In fact, Snow<br />
White and Fantasia could have served Cunningham as short courses in modern art’s seemingly<br />
arbitrary intense colors, which were originated in the work of Van Gogh, Paul Gauguin, and<br />
the <strong>Fauve</strong>s.<br />
In consideration of the sophistication of Cunningham’s work, it is not farfetched to<br />
align it with the highly subtle and remarkable ideas of the French Symbolist movement, which<br />
provided Gauguin and Matisse, among others, with a rationale for employing saturated hues.<br />
But if one recognizes how profoundly these Symbolist concepts permeated popular culture,<br />
including animated cartoons, mass media advertising, and fashion, their indirect impact on<br />
Cunningham seems far more plausible. The reason for pointing out their relevance to his art is<br />
not simply to elevate his paintings by association, even though that might be a residual effect,<br />
but to point out how Cunningham has claimed for vernacular art some of the same avant-garde<br />
concepts disseminated throughout the culture. In his work, then, Cunningham invokes some<br />
of the original Symbolist concepts, such as the absolute reality of the abstract components of<br />
painting, such as shape and color. Although he never relinquished the realm of appearances in<br />
his art, he does revel in the abstract power of color as his saffron oceans and skies, raspberry bays,<br />
and chocolate waterways so eloquently testify.<br />
Cunningham’s relation to color bespeaks the strong convictions he had about the<br />
world and the ideal realm he was depicting in his art. The saturated hues in his art imply a<br />
deep involvement with his subject to the point that he does not take time to modulate colors<br />
but instead prefers to use them in large doses to convey strong feelings. The fresh and intense<br />
color in his art supports his Edenic subject matter by signifying a world created anew, unspoiled<br />
and full of intense light. His color also has the distinct psychological advantage of suggesting<br />
contradictory ways of approaching his dreamscapes. It may be seen as paralleling psychologist<br />
C.G. Jung’s advice to a patient constructing a mandala “not to be afraid of bright colors, . . .<br />
[because] vivid colors seem to attract the unconscious.” 6 The question of whether color makes<br />
the dream more real or whether it heightens its unreality and thus guarantees its status as a<br />
14
dream is moot. And this oscillation between extended dream and heightened reality may have<br />
been one of the main attractions color had for Cunningham.<br />
In most of his works Cunningham employed a dominant hue to form an embracing<br />
ambience capable of imbuing and embracing all his pictorial elements as well as subsuming<br />
them under its aegis. While the intensity of color in his painting is indebted to popular-culture<br />
descendants of Fauvist art, his handling of it can be traced to the tradition of Tonalism, an elitist<br />
artistic trend beginning in the 1880s and continuing into the teens of the twentieth century,<br />
most notably through the leading example of Whistler’s nocturnes. Although Cunningham<br />
did not perpetuate the blurred forms, grayed out colors, and poetic intimate scenes of the<br />
Tonalists, he did sustain their embracing environments and closely aligned hues, albeit in a<br />
heightened palette differing significantly from their overall gentle and genteel effect. Moreover,<br />
he sustained the Tonalist desire to create protected and idealized retreats into the past, even<br />
though his subject matter differs markedly from the aristocratic, neurasthenic women often<br />
associated with works by such New England Tonalists as Thomas Dewing.<br />
When Cunningham decided to create his self-taught art for a museum setting, he<br />
internalized a range of the then current attitudes about these institutions, including making<br />
art a special and restricted refuge from daily life. Even though he contextualized his paintings<br />
in his gallery by creating a passageway to it through an anteroom of nautical equipment, his<br />
works existed in a private space, which emphasized both their formal qualities and the ensuing<br />
relationships between them. Just as a museum might transform crucifixes into sculpture, thereby<br />
rendering the sacred prosaic, so Cunningham’s gallery reinforced the universal character of his<br />
art and connoted its lasting value. While this attitude might be devastating for a venerated<br />
religious object, it reinforced the idealism and abstraction found in Cunningham’s figurative<br />
work and also exaggerated its symbolic import as an Edenic view of America’s past.<br />
Even with the great amount of lucid detail populating his paintings, Cunningham<br />
maintained a pervading interest in the ways objects function as symbols, and for this reason he<br />
subsumed details under a general interaction of land and sea. Traditionally, the sea symbolizes<br />
mobility, change, and freedom. It is an open-ended sign full of possibilities and limited in the<br />
visual arts only by the horizon line or by land. The harbor often takes on the biblical overtones<br />
of a safe refuge. Although essentially out of harm’s way, the harbors in Cunningham’s art are still<br />
subject to the strong winds that cause sailing crafts to heel, revealing their red hulls. Land, in<br />
this equation, is usually only an adjunct to the many harbors populating these scenes, and these<br />
structures remain front-stage-center in these works. One could thus argue that Cunningham is<br />
a preeminent painter of harbors rather than the sea, since the comforts and security they offer<br />
are very important to him. In fact, the foreground areas of land adjoining his prominent harbors<br />
in his marine paintings contain, control, and limit views of the sea, making this large body of<br />
water subservient to them.<br />
To conclude: more than a mere treasure trove of his own past experiences, Cunningham’s<br />
museum of memories is an overall qualitative re-conception of them. His art distills not only<br />
his own experiences but also for his understanding of America’s past. The result is a collection of<br />
compelling metaphors of regeneration, attained through a harmonious reconciliation of notable<br />
differences. With their many formal alliances with such modern art movements as Fauvism,<br />
Cunningham’s oxymoronic works bespeak great sophistication within the limits of a self-taught<br />
style, thereby demonstrating the fact that seemingly childlike forms do not necessarily connote<br />
naïve approaches. Even though Cunningham was semi-literate and certainly marginalized from<br />
the mainstream world, he was versed in aspects of modern culture and its traditions; in his art<br />
he achieves a number of the idealistic values associated with an Edenic world that the dominant<br />
culture lacked, thereby providing an implicit critique of it. Whereas some artists create viable<br />
images of the future, Cunningham re-conceives the past in his art as a halcyon realm in which<br />
the <strong>American</strong> genesis can be ritualistically reenacted. In his paintings he reinvigorates clichés,<br />
imbuing them with conviction, thus enabling his viewers to see already familiar and at times<br />
hackneyed cultural norms from a fresh perspective and thereby providing this audience a means<br />
for engaging and even empathizing with them.<br />
1 Several decades after his death, Cunningham’s dream was given tangible form by the perspicacious and assiduous collectors, the<br />
Honorable Marilyn Mennello and her husband Michael Mennello, who began shortly after the artist’s death adding to their collection of<br />
his art by acquiring as many works in the estate as possible plus his papers and the personal effects related to his art and his St. Augustine<br />
antique shop on St. George Street called “Over Fork Gallery.” In 1998 the non-profit Mennello Museum of <strong>American</strong> <strong>Art</strong> opened its<br />
doors, and its historical and cultural was recognized by members of the Orlando city counsel , when they assumed the ownership and<br />
operation of the Museum.<br />
2 Cunningham’s second museum exhibition in 1974 was subtitled “<strong>American</strong> Primitive.” The exhibition included over two hundred<br />
paintings. According to museum director John Surovek, the artist determined the title for this exhibition.<br />
3 Jerry Uelsmann, telephone interview with Robert Hobbs, 17 August 1991.<br />
4 Ibid.<br />
5 Although early snapshots of these paintings are extant, the works themselves have not been located.<br />
6 C.G. Jung, Mandala Symbolism, trans. R.F.C. Hull (Princeton: Princeton University Press, 1959), p. 10.<br />
15
PAINTINGS
Seminole Paradise<br />
c. 1955<br />
oil on masonite<br />
17 x 41 in.<br />
Provenance:<br />
Collection of Mary Demetree<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Atlanta, Georgia, High Museum of <strong>Art</strong>, Earl Cunningham: Painting an <strong>American</strong> Eden,<br />
1994, No. 27;<br />
Traveled to:<br />
West Palm Beach, Florida, Norton Gallery of <strong>Art</strong>, 1994<br />
Orlando, Florida, Orlando Museum of <strong>Art</strong>, 1995<br />
Rockland, Maine, The Farnsworth <strong>Art</strong> Museum, 1997<br />
Greenberg, Pennsylvania, Westmorland Museum of <strong>Art</strong>, 1997<br />
Columbia, South Carolina, McKissick Museum, University of South Carolina, 1998<br />
Orlando, Florida, The Mennello Museum of <strong>American</strong> <strong>Art</strong>, Earl Cunningham’s<br />
America, 2009<br />
19
Railroad Bridge<br />
date unknown<br />
oil on masonite<br />
16 x 20 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
20
Safe Harbor<br />
1935<br />
oil on canvas board<br />
16 x 25 in.<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Orlando, Florida, The Mennello Museum of <strong>American</strong> <strong>Art</strong>,<br />
Earl Cunningham: His Carefree <strong>American</strong> World, 1986<br />
Traveled to:<br />
Jacksonville, Florida, Jacksonville Museum of <strong>Art</strong>, Sept.-Nov. 1987<br />
Daytona Beach, Florida, Museum of <strong>Art</strong>s and Sciences, April-June, 1988<br />
Santa Clara, California, Triton Museum of <strong>Art</strong>, Dec. 1988-Feb. 1989<br />
Monterey, California, Monterey Peninsula Museum of <strong>Art</strong>, Feb.-May 1989<br />
Huntsville, Alabama, Huntsville Museum of <strong>Art</strong>, Oct.-Nov. 1989<br />
Lakeland, Florida, Polk Museum of <strong>Art</strong>, Dec. 1989-Feb. 1990<br />
Huntington, West Virginia, Huntington Museum of <strong>Art</strong>, May-July 1990<br />
23
Jungle House<br />
c. 1965<br />
oil on board<br />
15 1/2 x 20 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Ft. Lauderdale, Florida, Museum of <strong>Art</strong>, A Separate Reality: Florida Eccentrics,<br />
April-July1987;<br />
Traveled to:<br />
Orlando, Florida, Valencia Community College, Aug.-Sept.1987<br />
Tallahassee, Florida, <strong>Fine</strong> <strong>Art</strong>s Gallery and Museum, Florida State University, Oct.1987<br />
24
Morning Expedition<br />
c. 1940<br />
oil on fiberboard<br />
21 1/2 x 28 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Ft. Lauderdale, Florida, Museum of <strong>Art</strong>, A Separate Reality: Florida Eccentrics,<br />
April-July1987<br />
Traveled to:<br />
Orlando, Florida, Valencia Community College, Aug.-Sept.1987<br />
27
House Boat No. 3<br />
c. 1960<br />
oil on fiberboard<br />
20 1/4 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
28
Early Explorers<br />
c. 1944<br />
oil on masonite<br />
14 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
29
Blue Waterfall<br />
c. 1975<br />
oil on fiberboard<br />
16 x 37 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Ft. Lauderdale, Florida, Museum of <strong>Art</strong>, A Separate Reality: Florida Eccentrics,<br />
April-July1987<br />
Traveled to:<br />
Orlando, Florida, Valencia Community College, Aug.-Sept.1987<br />
Tallahassee, Florida, <strong>Fine</strong> <strong>Art</strong>s Gallery and Museum, Florida State University, Oct.1987<br />
31
Sunrise at Old Brick Lighthouse<br />
date unknown<br />
oil on fiberboard<br />
18 1/4 x 36 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Mystic, Connecticut, Mystic Seaport Museum, Earl Cunningham: His Carefree <strong>American</strong> World,<br />
sponsored by the Mid-America <strong>Art</strong>s Alliance: Exhibits USA, Nov. 1988-March 1989<br />
Traveled to:<br />
Little Rock, Arkansas, the Arkansas <strong>Art</strong> Center, April-June 1989<br />
Solomans, Maryland, Calvert Maritime Museum, July-Aug. 1989<br />
Midland, Texas, Museum of the Southwest, Sept. 1989<br />
Greenville, North Carolina, Gray <strong>Art</strong> Gallery, East Carolina University, Nov.-Dec. 1989<br />
Albany, Georgia, Albany Museum of <strong>Art</strong>, Dec. 1989-Jan. 1990<br />
Breckenridge, Texas, Breckenridge <strong>Fine</strong> <strong>Art</strong>s Center, June-July 1990<br />
32
The Watch Tower<br />
c. 1960<br />
oil on fiberboard<br />
18 x 36 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
34
Off the Coast of White Lighthouse Point<br />
c. 1950<br />
oil on fiberboard<br />
17 1/2 x 24 1/2 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
35
Six Indians in Three Canoes<br />
c. 1940<br />
oil on fiberboard<br />
16 x 32 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Tallahassee, Florida, The Capitol, Office of the Commissioner of Education Betty Castor, April 1987-Nov. 1988<br />
36
The Pink Hotel<br />
c. 1940<br />
oil on fiberboard<br />
16 x 31 3/4 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
37
Brick Lighthouse on the Bluff<br />
c. 1970<br />
oil on fiberboard<br />
16 1/2 x 23 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Geneva, Switzerland, United States Mission, Embassy Residence - Ambassador and Mrs. Morris Abrams,<br />
United States Department of State, <strong>Art</strong> in Embassies Program, 1992<br />
40
Life on the Waterfront<br />
c. 1955<br />
oil on fiberboard<br />
20 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Mystic, Connecticut, Mystic Seaport Museum, Earl Cunningham: His Carefree <strong>American</strong> World,<br />
sponsored by the Mid-America <strong>Art</strong>s Alliance: Exhibits USA, Nov. 1988-March 1989<br />
Traveled to:<br />
Little Rock, Arkansas, the Arkansas <strong>Art</strong> Center, April-June 1989<br />
Solomans, Maryland, Calvert Maritime Museum, July-Aug. 1989<br />
Midland, Texas, Museum of the Southwest, Sept. 1989<br />
Greenville, North Carolina, Gray <strong>Art</strong> Gallery, East Carolina University, Nov.-Dec. 1989<br />
Albany, Georgia, Albany Museum of <strong>Art</strong>, Dec. 1989-Jan. 1990<br />
Breckenridge, Texas, Breckenridge <strong>Fine</strong> <strong>Art</strong>s Center, June-July 1990<br />
43
Sailing By Woodpecker Hollow<br />
1970<br />
oil on fiberboard<br />
18 x 28 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Tallahassee, Florida, The Capitol, Office of the Commissioner of Education Betty Castor, April 1987-Nov. 1988<br />
44
Looking Over Woodpecker Hollow<br />
1970<br />
oil on fiberboard<br />
18 x 28 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Southern <strong>Art</strong>s Federation, Jan. 1987<br />
45
Georgia Village South Side<br />
c. 1930<br />
oil on fiberboard<br />
18 x 24 inches<br />
Provenance:<br />
Collection of Dr. Faisal Fakih<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Southern <strong>Art</strong>s Federation, Jan. 1987<br />
47
The Hokona Out of South Carolina<br />
c. 1945<br />
oil on fiberboard<br />
17 3/4 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Mystic, Connecticut, Mystic Seaport Museum, Earl Cunningham: His Carefree <strong>American</strong> World,<br />
sponsored by the Mid-America <strong>Art</strong>s Alliance: Exhibits USA, Nov. 1988-March 1989<br />
Traveled to:<br />
Little Rock, Arkansas, the Arkansas <strong>Art</strong> Center, April-June 1989<br />
Solomans, Maryland, Calvert Maritime Museum, July-Aug. 1989<br />
Midland, Texas, Museum of the Southwest, Sept. 1989<br />
Greenville, North Carolina, Gray <strong>Art</strong> Gallery, East Carolina University, Nov.-Dec. 1989<br />
Albany, Georgia, Albany Museum of <strong>Art</strong>, Dec. 1989-Jan. 1990<br />
Breckenridge, Texas, Breckenridge <strong>Fine</strong> <strong>Art</strong>s Center, June-July 1990<br />
48
Beach Party<br />
c. 1940<br />
oil on fiberboard<br />
11 x 26 1/2 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
51
Royal Blue Water of New England<br />
c. 1930<br />
oil on fiberboard<br />
14 1/2 x 32 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Geneva, Switzerland, United States Mission, Embassy Residence - Ambassador and Mrs. Morris Abrams,<br />
United States Department of State, <strong>Art</strong> in Embassies Program, 1992<br />
52
Winter’s Day at Yellow Cabin, Series II<br />
c. 1950<br />
oil on fiberboard<br />
12 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
54
Homeward Bound<br />
1970<br />
oil on fiberboard<br />
13 1/2 x 16 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
55
Blue Bridge Island<br />
date unknown<br />
oil on fiberboard<br />
14 x 16 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Orlando, Florida, The Mennello Museum of <strong>American</strong> <strong>Art</strong>, Earl Cunningham: His Carefree <strong>American</strong> World, 1986<br />
Traveled to:<br />
Jacksonville, Florida, Jacksonville Museum of <strong>Art</strong>, Sept.-Nov. 1987<br />
Santa Clara, California, Triton Museum of <strong>Art</strong>, Dec. 1988-Feb. 1989<br />
Monterey, California, Monterey Peninsula Museum of <strong>Art</strong>, Feb.-May 1989<br />
Huntsville, Alabama, Huntsville Museum of <strong>Art</strong>, Oct.-Nov. 1989<br />
Huntington, West Virginia, Huntington Museum of <strong>Art</strong>, May-July 1990<br />
57
Schooners Off Florida Coast (Offshore Schooners, Series I)<br />
1970<br />
oil on fiberboard<br />
17 x 23 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Mystic, Connecticut, Mystic Seaport Museum, Earl Cunningham: His Carefree <strong>American</strong> World,<br />
sponsored by the Mid-America <strong>Art</strong>s Alliance: Exhibits USA, Nov. 1988-March 1989<br />
Traveled to:<br />
Little Rock, Arkansas, the Arkansas <strong>Art</strong> Center, April-June 1989<br />
Solomans, Maryland, Calvert Maritime Museum, July-Aug. 1989<br />
Midland, Texas, Museum of the Southwest, Sept. 1989<br />
Greenville, North Carolina, Gray <strong>Art</strong> Gallery, East Carolina University, Nov.-Dec. 1989<br />
Albany, Georgia, Albany Museum of <strong>Art</strong>, Dec. 1989-Jan. 1990<br />
Breckenridge, Texas, Breckenridge <strong>Fine</strong> <strong>Art</strong>s Center, June-July 1990<br />
58
Earl Cunningham in his shop, 1970. Photo by Jerry Uelsmann
Gabriel’s Landing<br />
c. 1965<br />
oil on fiberboard<br />
17 1/2 x 28 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Ft. Lauderdale, Florida, Museum of <strong>Art</strong>, A Separate Reality: Florida Eccentrics, April-July1987<br />
Traveled to:<br />
Orlando, Florida, Valencia Community College, Aug.-Sept.1987<br />
Tallahassee, Florida, <strong>Fine</strong> <strong>Art</strong>s Gallery and Museum, Florida State University, Oct.1987<br />
66
The Narrow Road<br />
c. 1960<br />
oil on fiberboard<br />
11 x 26 5/8 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
69
Dog Track Cabin<br />
c. 1972<br />
oil on fiberboard<br />
12 x 15 1/4 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
70
Day’s End at Coast Guard Station, Series III<br />
1950<br />
oil on fiberboard<br />
12 x 23 3/4 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
73
Yellow Water, Series I<br />
1970<br />
oil on fiberboard<br />
16 x 16 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
74
Black Schooner Sailing at Full Speed<br />
c. 1960<br />
oil on fiberboard<br />
15 1/4 x 15 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and The Honorable Marilyn Logsdon Mennello, Winter Park, FL<br />
Exhibited:<br />
Tallahassee, Florida, The Capitol, Office of the Commissioner of Education Betty Castor, April 1987-Nov. 1988<br />
75
Eight Little Indians<br />
1965<br />
oil on fiberboard<br />
10 1/2 x 16 1/2 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
76
Houseboat at Shore<br />
c. 1945<br />
oil on fiberboard<br />
20 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and The Honorable Marilyn Logsdon Mennello, Winter Park, FL<br />
Exhibited:<br />
Ft. Lauderdale, Florida, Museum of <strong>Art</strong>, A Separate Reality: Florida Eccentrics, April-July1987<br />
Traveled to:<br />
Orlando, Florida, Valencia Community College, Aug.-Sept.1987<br />
Tallahassee, Florida, <strong>Fine</strong> <strong>Art</strong>s Gallery and Museum, Florida State University, Oct.1987<br />
77
Chickie Village Portrait<br />
c. 1960<br />
oil on fiberboard<br />
18 1/4 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
78
Red Roof Inn<br />
c. 1960<br />
oil on fiberboard<br />
13 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Southern <strong>Art</strong>s Federation, Jan. 1987<br />
80
New England Fishing Village, Series I<br />
c. 1930<br />
oil on fiberboard<br />
16 x 16 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
81
At the Mouth of the Yellow River<br />
1970<br />
oil on fiberboard<br />
16 x 16 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Orlando, Florida, The Mennello Museum of <strong>American</strong> <strong>Art</strong>, Earl Cunningham: His Carefree <strong>American</strong> World, 1986<br />
Traveled to:<br />
Jacksonville, Florida, Jacksonville Museum of <strong>Art</strong>, Sept.-Nov. 1987<br />
Santa Clara, California, Triton Museum of <strong>Art</strong>, Dec. 1988-Feb. 1989<br />
Monterey, California, Monterey Peninsula Museum of <strong>Art</strong>, Feb.-May 1989<br />
Huntsville, Alabama, Huntsville Museum of <strong>Art</strong>, Oct.-Nov. 1989<br />
Lakeland, Florida, Polk Museum of <strong>Art</strong>, Dec. 1989-Feb. 1990<br />
Huntington, West Virginia, Huntington Museum of <strong>Art</strong>, May-July 1990<br />
82
Springtime Fantasy<br />
c. 1968<br />
oil on fiberboard<br />
16 x 24 inches<br />
Provenance:<br />
Collection of Dr. Faisal Fakih<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Southern <strong>Art</strong>s Federation, Jan. 1987<br />
85
Red Roofed Bridge<br />
c. 1950<br />
oil on fiberboard<br />
12 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
89
Red Boat House on Tree Lined Canal<br />
date unknown<br />
oil on fiberboard<br />
12 1/4 x 24 1/4 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
90
The Landing<br />
c. 1960<br />
oil on fiberboard<br />
13 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
92
Green Three Master Rounding S. Point<br />
c. 1960<br />
oil on fiberboard<br />
12 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
93
Winter’s Day at Yellow Cabin, Series I<br />
c. 1950<br />
oil on fiberboard<br />
12 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
94
Sunrise at Spoonbill Point<br />
c. 1960<br />
oil on fiberboard<br />
16 x 31 3/4 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
97
Double Pine Island<br />
1965<br />
oil on fiberboard<br />
12 x 15 1/4 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
99
Boat Lodges, Seminole Camp<br />
c. 1966<br />
oil on fiberboard<br />
17 1/2 x 23 1/2 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
100
101
Ocean Walk<br />
c. 1969<br />
oil on fiberboard<br />
12 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
103
Arctic Storm<br />
c. 1969<br />
oil on fiberboard<br />
16 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
104
105
Green Warehouse Dock<br />
c. 1960<br />
oil on fiberboard<br />
16 x 36 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
107
Storm Clouds<br />
c. 1956<br />
oil on fiberboard<br />
16 x 24 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
108
Untitled<br />
1950<br />
oil on plywood<br />
13 x 11 1/8 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
109
York Harbor Boat House<br />
c. 1955<br />
oil on fiberboard<br />
23 x 43 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
Exhibited:<br />
Mystic, Connecticut, Mystic Seaport Museum, Earl Cunningham: His Carefree <strong>American</strong> World,<br />
sponsored by the Mid-America <strong>Art</strong>s Alliance: Exhibits USA, Nov. 1988-March 1989<br />
Traveled to:<br />
Little Rock, Arkansas, the Arkansas <strong>Art</strong> Center, April-June 1989<br />
Solomans, Maryland, Calvert Maritime Museum, July-Aug. 1989<br />
Midland, Texas, Museum of the Southwest, Sept. 1989<br />
Greenville, North Carolina, Gray <strong>Art</strong> Gallery, East Carolina University, Nov.-Dec. 1989<br />
Albany, Georgia, Albany Museum of <strong>Art</strong>, Dec. 1989-Jan. 1990<br />
Breckenridge, Texas, Breckenridge <strong>Fine</strong> <strong>Art</strong>s Center, June-July 1990<br />
111
Little Island Inlet<br />
c. 1958<br />
oil on fiberboard<br />
20 x 36 1/2 inches<br />
Provenance:<br />
Collection of Michael A. Mennello, Winter Park, FL.<br />
Collection of Michael A. Mennello and<br />
The Honorable Marilyn Logsdon Mennello, Winter Park, FL.<br />
112
EXHIBITION HISTORY<br />
140 paintings have been shown in a variety of exhibitions at the following locations:<br />
1970 The Paintings of Earl Cunningham, Loch Haven <strong>Art</strong> Center, Orlando, Florida,<br />
May 31-July 5, 1970<br />
1974 Earl Cunningham: <strong>American</strong> Primitive, Museum of <strong>Art</strong>s & Sciences, Daytona<br />
Beach, Florida (200 paintings), August 8-September 5, 1974<br />
1978 Earl Cunningham Retrospective, St. Augustine <strong>Art</strong> Association Gallery,<br />
October 29-November 15, 1978<br />
1979 Teresa Paffe Collection of Earl Cunningham Paintings, The Overfork Gallery, 1004<br />
Ponce de Leon Boulevard<br />
1979-80 Earl Cunningham Painting and Sculpture, The Museum of Florida History,<br />
Tallahassee, December, 1979- February, 1980<br />
1980 One painting on loan from the Permanent Collection of the Museum of <strong>American</strong><br />
Folk <strong>Art</strong>, NYC to Tampa Museum of <strong>Art</strong>, January, 1980<br />
1986 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World presented by<br />
The Museum of <strong>American</strong> Folk <strong>Art</strong> and The Center for <strong>American</strong> <strong>Art</strong>, New York<br />
University at 80 Washington Square East Galleries, New York University<br />
(66 paintings), March 11-April 4, 1986<br />
1986 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Jacksonville <strong>Art</strong><br />
Museum, Jacksonville, Florida, October 12-26, 1986<br />
1987 A Separate Reality: Florida Eccentrics, Museum of <strong>Art</strong>, Ft. Lauderdale, Florida<br />
(23 paintings), April 23-July 5, 1987<br />
1987 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Jacksonville <strong>Art</strong><br />
Museum, Jacksonville, Florida, September 17-October 31, 1987<br />
1987 Separate Reality: Florida Eccentrics, <strong>Fine</strong> <strong>Art</strong>s Gallery and Museum, Florida<br />
State University, Tallahassee, Florida, October 2-25, 1987<br />
1987-88 Office of the Commissioner of Education Betty Castor, The Capitol, Tallahassee<br />
Florida (19 paintings), April 1987-November, 1988<br />
1988 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Museum of <strong>Art</strong> and<br />
Sciences, Daytona Beach, Florida (65 paintings), March 24-May 31, 1988<br />
1988-89 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Traveling Exhibit<br />
sponsored by Mid-America <strong>Art</strong>s Alliance: Exhibits USA, Mystic Seaport Museum,<br />
Mystic, Connecticut (45 paintings), November 19, 1988-March 15, 1989<br />
1988-89 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Triton Museum of<br />
<strong>Art</strong>, Santa Clara, California (60 paintings), December 10, 1988-February 4, 1989<br />
1989 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Monterey Peninsula<br />
Museum of <strong>Art</strong>, Monterey, California (60 paintings), February 17-May 14, 1989<br />
1989 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, The Arkansas <strong>Art</strong><br />
Center, Little Rock, Arkansas (40 paintings), April 20- June 4, 1989<br />
1989 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Calvert Marine<br />
Museum, Solomans, Maryland (40 paintings), July 20-August 21, 1989<br />
1989 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Mengei International<br />
Museum of World Folk <strong>Art</strong>, La Jolla, California (60 paintings), August 1-Sept 15, 1989<br />
1989 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Museum of the<br />
Southwest, Midland, Texas (40 paintings), September 1-22, 1989<br />
1989 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Huntsville Museum of<br />
<strong>Art</strong>, Huntsville, Alabama (60 paintings), October 8- November 12, 1989<br />
1989 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Gray <strong>Art</strong> Gallery, East<br />
Carolina University, Greenville, North Carolina (40 paintings), Nov 3- Dec 1, 1989<br />
1989-90 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Polk Museum of <strong>Art</strong>,<br />
Lakeland, Florida (60 paintings), December 9-February 18, 1990<br />
1989-90 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Albany Museum of<br />
<strong>Art</strong>, Albany, Georgia (40 paintings), December 17-January 28, 1990<br />
1990 Folk <strong>Art</strong> Traditions: Three Contemporary Masters, Federal Board Gallery,<br />
Washington, D.C. (10 paintings), January 23- March 26, 1990<br />
1990 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Huntington Museum<br />
of <strong>Art</strong>, Huntington, West Virginia (60 paintings), May 20- July 15, 1990<br />
1990 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Breckenridge <strong>Fine</strong><br />
<strong>Art</strong>s Center, Breckenridge, Texas (40 paintings), June 9- July 10, 1990<br />
1990 Earl Cunningham (2 paintings), U.S. Embassy, Luxembourg, August 1990-August 1992<br />
1991 Earl Cunningham (4 paintings), U.S. Embassy, Caracus, Venezuela, Ambassador and<br />
Mrs. Skol, August 1990-1992<br />
1992 Earl Cunningham (4 paintings), U.S. Mission in Geneva, Embassy Residence-<br />
Ambassador and Mrs. Morris Abrams, August 1990-August 1992<br />
1992 Earl Cunningham (1893-1977): His Carefree <strong>American</strong> World, Tampa Museum of<br />
<strong>Art</strong>, Tampa, Florida (60 paintings), February 2 - April 6, 1992<br />
116
1994 Earl Cunningham: Painting an <strong>American</strong> Eden, High Museum of <strong>Art</strong>, Atlanta,<br />
Georgia (46 paintings), February 11 - June 18, 1994<br />
1994 Earl Cunningham: Painting an <strong>American</strong> Eden, Norton Gallery of <strong>Art</strong>, West Palm<br />
Beach, Florida (46 paintings), July 22 - September 11, 1994<br />
1995 Earl Cunningham: Painting an <strong>American</strong> Eden, Orlando Museum of <strong>Art</strong>, Orlando,<br />
Florida (46 paintings), September 30 - November 5, 1995<br />
1996-97 Earl Cunningham: Painting an <strong>American</strong> Eden, The Farnsworth <strong>Art</strong> Museum,<br />
Rockland, Maine (46 paintings), November 10, 1996 - February 2, 1997<br />
1997 Earl Cunningham: Painting an <strong>American</strong> Eden, Westmoreland Museum of <strong>Art</strong>,<br />
Greenburg, Pennsylvania (46 paintings), February 9 - April 20, 1997<br />
1998 Earl Cunningham: Painting an <strong>American</strong> Eden, McKissick Museum, University of<br />
South Carolina, Columbia, South Carolina (46 paintings), January 11 - March 2, 1998<br />
2007 Earl Cunningham’s America, Smithsonian <strong>American</strong> <strong>Art</strong> Museum, Washington D.C.,<br />
August 6 - November 4, 2007<br />
2008 Earl Cunningham’s America, <strong>American</strong> Folk <strong>Art</strong> Museum, New York City, New York,<br />
March 4 - August 31, 2008<br />
2008 Earl Cunningham’s America, Fenimore Museum, Cooperstown, New York,<br />
September 26 - December 31, 2008<br />
2009 Earl Cunningham’s America, The Mennello Museum of <strong>American</strong> <strong>Art</strong>, Orlando,<br />
Florida, March 6 - August 2, 2009<br />
2011 Earl Cunningham: <strong>American</strong> <strong>Fauve</strong>, <strong>Heather</strong> <strong>James</strong> <strong>Fine</strong> <strong>Art</strong>, Jackson, Wyoming,<br />
September 8 - October, 2011<br />
2011-12 Earl Cunningham: <strong>American</strong> <strong>Fauve</strong>, <strong>Heather</strong> <strong>James</strong> <strong>Fine</strong> <strong>Art</strong>, Palm Desert, California,<br />
November 25, 2011 - April, 2012<br />
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CHRONOLOGY<br />
1893 June 30. Born Erland Ronald Cunningham in Edgecomb, Maine, near Boothbay<br />
Harbor, fifty-nine miles from Portland. Parents are Charles and Elwilda Drake<br />
Cunningham; there are two older sisters and later, three younger brothers. Their<br />
father lives and works on the farm that has been in the family since the early<br />
ninteenth century. According to family tradition, they were of Scottish descent and<br />
had emigrated to Nova Scotia and then moved south to Maine.<br />
1906 Leaves home at age thirteen. His mother makes him promise that he will finish the<br />
eighth grade; his father then pronounces him a man, and he strikes out on his own.<br />
Makes his living as a tinker and is befriended by the son of the inventor and founder<br />
of the Diamond Match Company. Returns to Boothbay Harbor for part of each year<br />
until 1937.<br />
1909 Lives in a fisherman’s shack on Stratton Island off Old Orchard Beach, Maine.<br />
Supports himself by peddling and by painting salvaged wood with pictures of boats<br />
and New England Farms for fifty cents each. Eventually acquires a rowboat, tent, and<br />
a twenty-two-foot sailboat, which he sails to within fifteen miles of New York City,<br />
to Jamaica Bay, Sandy Hook, and Long Island Sound, and even up beyond the<br />
narrows of the Hudson River.<br />
1912 May 1. Receives a certificate from Hamil Foster School of Automobile Engineering,<br />
Portland, Maine. Also finds time to study coastal navigation and receives a<br />
government license as a pilot of harbors and rivers.<br />
Prior to World War I<br />
Sails on giant coastal ships, 159 to 250 feet long, schooner-rigged, with four and five<br />
masts. Travels down the East coast to Florida and ports on the way, carrying coal,<br />
naval stores, and other cargo. Relates the story that he was once taken by “coaster”<br />
to Labrador, Canada, where he was put ashore for two weeks to light a huge bonfire<br />
for the ship on its return. During that time he befriended raccoons, birds, and other<br />
animals, many of which appear later in his paintings.<br />
c. 1913 Meets Captain Foster, skipper of the J. P. Morgan family yacht, the Grace, and<br />
eventually learns to sail the vessel. Saves the Grace from possible disaster by repairing<br />
a shackle that had been undone by the weather. In return for Earl’s diligence, Captain<br />
Foster goes to Boston and returns with an eleven-foot mahogany-topped white cedar<br />
canoe, a gift from the Morgan family. Later, a loan from Captain Foster enables him<br />
to buy a twenty-two-foot sailboat.<br />
1913 June. Postcard from Boothbay Harbor mentions traveling “from Portland, Maine to<br />
Boothbay Harbor on the Grace…Captain Foster’s daughter and I went to the fire<br />
around nine o’clock at night June 1913.” Fire destroys a large hotel called the<br />
Menawarmet.<br />
1914 August. Stays in cabin at Pendleton homestead, Crescent Beach Road, Anastasia<br />
island, Florida. That same year sells a painting for eight dollars.<br />
1915 June 29. Marries Iva Moses, a piano teacher, whom he calls Maggie throughout their<br />
marriage. Buys a thirty-five-foot cabin cruiser named the Hokona, on which he<br />
and his bride live. Drives a truck for the navy during World War I and is sent to<br />
Jacksonville, Florida, to test an instrument used to detect alloys in junk metals. While<br />
on this job visits St. Augustine for the first time.<br />
1916 Hokona is docked near Cape Elizabeth, Maine. Photograph of chickens bears<br />
inscription “product of our farm 1916.”<br />
1917 Photograph of the vessel Bay State grounded on the rocks, Cape Elizabeth, near<br />
Portland, Maine. Later uses this scene in a painting.<br />
1918-c.1928<br />
For a decade after World War I spends the winters in Florida at Tampa Bay, Ceader<br />
Keys, and St. Augustine, digging for Indian relics and collecting opalized coral to take<br />
back to Maine to sell. Also catches fiddler crabs on the beaches of Anastasia Island,<br />
Florida, which he preserves and takes back to Maine.<br />
1919 In Freeport, Maine, and Schenectady, New York.<br />
1920 Lives in Freeport, Maine. Has several buildings and a sawmill.<br />
1921 July. Photograph taken in Freeport, Maine, with the truck named Dirigo: The Good Barge.<br />
July 20. Travels between Florida and Miami.<br />
August 6. Visits Niagara Falls.<br />
August 8. Travels the coast of Lake Erie beyond Lackawanna, New York.<br />
October 14. Spends time in Ohio; the Cunninghams husk eight hundred bushels of<br />
corn for Mr. Riddles.<br />
1922 April. Visits Cartersville, Georgia.<br />
August. Photograph take near Cartersville shows Etowah burial mounds in the<br />
background. On the reverse Cunningham notes, “Found lots of things here: 1922-23<br />
24-25.”<br />
1923-24 Continues to visit Anastasia Island and St. Augustine, Florida. Stays long enough to<br />
invest in a small motorized tractor.<br />
1925 Rents a house in the district of West Augustine, St. Augustine, Florida, for five years;<br />
catches fiddler crabs and sends them to Maine as well as all over the U.S. Continues to<br />
call Maine home; moves from Freeport to Boothbay Harbor.<br />
October 19. Earl’s brother Donald dies in a sawmill accident. Family situation<br />
becomes difficult.<br />
c. 1920s-40<br />
Maintains a twenty-five acre farm in Maine, which he names “Fort Valley,” and plans<br />
a museum.<br />
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1936 Sells his house in Maine. Some time after this date his marriage ends in divorce.<br />
1938 January. Again visits Cartersville, Georgia.<br />
1940 Sells Fort Valley farm and purchases a fifty-acre farm in Waterboro, South Carolina<br />
Has museum project under way when World War II begins. Farm is converted to<br />
raise chickens for the army; nevertheless continues to paint.<br />
1949 Moves to 51-55 St. George Street, St. Augustine, Florida, and establishes Over Fork<br />
Gallery. Landlady, close friend, and patron is fifty-one-year-old Theresia (Tese) Paffe,<br />
who lives upstairs.<br />
c. 1950 Paints series of twenty pictures (now lost) of Native <strong>American</strong>s for the Michigan<br />
Historical Society. Notes on back of a photograph of Mackinac Island, Michigan:<br />
“I have none of them now. They sold for $250.00 each. Each was different.” Finds<br />
Native-<strong>American</strong> stone figure of bison in Georgia mountains.<br />
1972 September 19. Is requested to move by the first of the year by Theresia Paffe.<br />
1973 Both he and Theresia Paffe move to a shop-home-studio on Florida State Road AIA\<br />
(U.S. 1), which is also 1004 N. Ponce De Leon Boulevard, St. Augustine.<br />
1974 August 8-September 5. Museum of <strong>Art</strong>s and Sciences, Daytona Beach, Florida, holds<br />
exhibition “Earl Cunningham: <strong>American</strong> Primitive,” featuring over two hundred<br />
paintings. According to museum director John Surovek, the artist wishes the<br />
paintings to be hung from floor to ceiling.<br />
1975 Notes in diary: “Counted my paintings today August 15. I have 330 all in frames.”<br />
1976 June 3. Notes in diary: “Finished all paintings today making me 405 on hand now.”<br />
1977 December 29. During a visit from his nephew Caroll Windslow and his wife, Earl<br />
Cunningham shoots himself. His funeral takes place January 3, 1978.<br />
1953 February 1. Oil painting entitled <strong>American</strong> Primitive offered for sale in catalogue of<br />
St. Augustine <strong>Art</strong> association.<br />
1955 Exhibits Hilton Head. Notes on back of painting, “Was in the National Show in St.<br />
Augustine, Florida, April 1955. Private Showing.”<br />
1959 February 12. Takes pride in becoming a member of the International Oceanographic<br />
Foundation and has certificate framed, even though membership in the foundation is<br />
similar to belonging to the National Geographic Society.<br />
1960 Has business card printed identifying himself as “Earl R. Cunningham, Zoologist”<br />
with the word “Specimens” below. Card also bears family crest with the name<br />
Cunningham; address is listed as 51-53-55 St. George Street.<br />
1961 January 27. Ships painting entitled The Everglades to Jacqueline Kennedy in the<br />
White House. Declares its value to be $1,200.<br />
May 9. Painting sent to Mrs. Kennedy is acknowledged by her personal secretary,<br />
Letitia Baldrige, in a letter to Cunningham.<br />
1962 Visits his nephew Carrol Winslow and his wife, Beverly, in Maine.<br />
1968 Identifies himself on a business card as a “Primitive <strong>Art</strong>ist.”<br />
1969 November. Meets Marilyn Logsdon Wilson (now Mennello) and her friend Jane Dart;<br />
is persuaded to sell paintings to both of them.<br />
1970 May 31-July 5. Loch Haven <strong>Art</strong> Center, Orlando, Florida (now the Orlando Museum<br />
of <strong>Art</strong>), holds Cunningham’s first museum exhibition, “The paintings of Earl<br />
Cunningham.” Jerry Uelsmann takes a series of photographs of the artist and his<br />
studio.<br />
Earl Cunningham, 1970. Photo by Jerry Uelsmann<br />
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