What happens?


Dear Artist,

Today it’s raining in Chadds Ford, PA. Big drops fall from the ancient sycamores. Off in foggy Brandywine Valley, the witch hazel and pignut hickory still hold their muted colours. Great black trunks narrow down to sharp and random spikes. Cattle wait on the hillsides and solemn crows grumble along an old stone wall. This is Wyeth country.


“Israel Hands” 1911
by N.C. Wyeth

I’m standing for the first time before the N.C. Wyeth oils in the Brandywine River Museum. I can still inhale the Scribner’s classics of my youth: “Treasure Island,” “Kidnapped,” “The Boy’s King Arthur.” These early paintings are huge. They exude vitality and robustness.

Newell Convers Wyeth (1882-1945), the father of Andrew and grandfather of Jamie, built his home and studio here in 1911 with the proceeds of work done for Scribner’s. He was a pupil of the great illustrator Howard Pyle, who kept a studio and school in nearby Wilmington, Delaware. Wyeth joined him at age 20 and within a year was selling his work to publishers. Pyle’s school was free — he picked and chose his students. Many were to become the godfathers of American illustration.


by N.C. Wyeth

In 1989, Andrew taped a most remarkable conversation about his father. A transcript is available in “Three Generations of Wyeth Art” published by the museum. It’s a candid and loving portrait about growing up with a sensitive and dynamic dad. It’s also about choosing a creative path of one’s own.

“Some artists get things right with almost no knowledge at all,” says Andrew, “much better than if they go out and search for it. Pa’s best paintings were spontaneous ideas. A concept needs the juice, the essence of the thing, more than all the theory or more knowledge.”

A great reader, N.C. was for the most part self-educated. In consequence, he respected those with a formal education. As his fame grew, critics, publishers, and other artists befriended him. He listened to them and “became agitated.” He was frequently advised to stop painting illustrations and make “real” art. “Pa made many dramatic changes in his life; reacting to specific artists,” says Andrew. “Even my influence was not good for him. My father lost his excitement for painting. He lost the vitality.”


“Nothing would escape” 1911
by N.C. Wyeth

Best regards,


PS: “‘Treasure Island’ is completed! The entire set of seventeen canvases without one break in my enthusiasm and spirit. Better in every quality than anything I ever did.” (N.C. Wyeth, age 29, in a letter to his mother, July 26, 1911)

Esoterica: N.C. was an energetic, driven painter who learned fast with the help of Pyle. He drew basic elements in charcoal with little recourse to models, with the exception of hands. A believer in big brushes and big gobs on his palette, N.C. Wyeth came to understand early on that speed itself enhanced freshness. Andrew reports that the painting “Train Robbery,” illustrated below, was painted from scratch in a single morning.


N.C. Wyeth early work


“The train robbery” 1912


“The Vedette” 1911


“On the island of Earraid” 1911


“Blind Pew” 1911







N.C. Wyeth late work


Ladies’ Home Journal cover, 1924


The Legend Of Kogal And Azin
Ladies’ Home Journal, 1927


Through All The Years From 1886
Coca-cola, 1938


Paul Jones Whiskies, 1935








The Holy Grail
by John F. Burk, Timonium, MD, USA


“Across the way”
acrylic painting
by John F. Burk

Isn’t that a wonderful place! N.C. Wyeth’s Scribner’s work, along with Norman Rockwell’s Post covers steeped my boyhood in what I’d like to do more than anything else. Standing before those paintings of N.C.’s and Andrew’s, and Jamie’s, studying every small brush trace and implied texture of Andrew’s, and the bold and brave light of N. C.’s work is like standing before the Holy Grail.




Family values
by Todd Butt, Trenton, OH, USA

Thank you for bringing back the memories of my trip to the museum some twenty-three years ago. Thinking about it still brings goosebumps. I carried my year old son for three hours … the best three hours we ever spent together though he was asleep for most of it and probably doesn’t remember a minute. The Wyeth’s paintings were an inspiration that have kept me going through realism to where I am today. The generations in that family are what each artist yearns for within his/her own … they are a lucky American family. As I put him into his car seat and tried to straighten my arm, I realize how special he would always be as those were in the Wyeth family.


Filtering more difficult than ever
by Lynn Harrison, Toronto, ON, Canada

I’ve been wondering about this… the loss of vitality and originality, as a result of outside influences. It strikes me that if N.C. Wyeth and others of past generations had difficulty filtering out the un-helpful new ideas and advice, it must be much harder for creative people today, bombarded as we are by so many distractions (many of which we don’t recognize as such). Without realizing it, we often trade “the essence of the thing,” as Andrew called it, for the thing we think might sell or be popular, the thing we think we ought to be doing, or the thing we’d like to do if we were a bit more skilled or… the list goes on. Gradually I’m getting better at quieting myself, learning to stay centered… and that does seem to help me recognize the true and vital work when it comes along.


Enjoy your own fingerprint
by Carol Mayne, Leucadia, CA, USA


“A Mist over Montalcino”
original painting
by Carol Mayne

Some say it’s “mind over matter… and if I don’t mind, it doesn’t matter!” Others have said that the greatest tool of the Devil is DOUBT. Then what happens? It only takes a small reprimand to a child to make a big impact. If one is told they should be different, or like somebody else, or better than somebody else, the usual reactions are to run in the other direction and boldly forge upstream to all criticism, OR adapt, acquiesce, give in, or give up.

Perhaps N.C. Wyeth found a third direction? Perhaps he found a higher purpose and completed his artistic sojourn? Perhaps he found peace in just being instead of doing? Who knows for sure? What matters to the viewers of his artwork now, is the personal reaction we get from seeing into his visions. The works in the Museum touched me deeply when I made a pilgrimage from California to the Brandywine Valley a few years ago. Maxfield Parrish, Pyle and the Wyeth family let the beauty and the power of their stories stay in our imaginations, and silenced the critics who questioned their longevity and worth. Some people go down in flames from ‘terminal uniqueness’ — why not? Enjoy your own special fingerprint, and leave an imprint that no one can copy!


Let no one tell you what to do
by Daniel Norris, Jasper, GA, USA


original painting
by Daniel Norris

I think what happens is that we lose focus if not careful. You’re having fun, creating, maybe not understanding how are why when the naysayers, judges, critics, i.e. the world come up and begin to kiss and kiss your arse alternately, unless your incredibly grounded those ol’ parent tapes of being a team player, getting along, not offending, etc. If only you would loosen up, tighten up, make it more abstract and cryptic but not to the point that no one understands it. Oh wait, no worry there will always be someone who pretends to understand it and throw a trinket your way. Bottom line be open to learning technique, discipline etc but let NO ONE tell you what or how or why to paint. That’s gotta come from you. And in the end it is the PEOPLE who judge with their wallets that make it all work and allow you to keep going. Unless you’ve won the lottery or something. Ribbons — six judges same art show six different days… six different results… get it? If Santa Claus is everywhere he is nowhere.

There is 1 comment for Let no one tell you what to do by Daniel Norris

From: Paddy — Oct 31, 2009

I agree. Follow your bliss. Have fun. Cover your ears. Let your brush tell the story.


Some changes not part of the path
by oliver, TX, USA


original painting
by oliver

It is hard to know one’s true path. One must listen, learn and grow and these changes can help one develop and the struggles in new phases may not be as rewarding as the old safe things. On the other hand some changes are not necessarily part of the path, or at least the best part of the path, or mark a phase where one must return to the former path older and wiser.



An electrical connection
by Kittie Beletic, Dallas, TX, USA


“Princess and the pea”
mixed media
by Kittie Beletic

It’s different for each of us. Some of us are fused by formal education; others need a day in the woods. A trip to an art museum fuels the fire inside, either the inspiration of aspiration or the realization of one’s own ability. In both cases there is the urge to go home and create!

But when does this enthusiasm diminish? How does that happen? How do we keep the heart fires burning? How do we avoid the decline in the first place? Again, I suppose it is different for each of us. For me it is too much input. It is true in every creative piece of my life. I reach out for support and for my muses. I look for inspiration when I am a blank canvas. But there is a vanishing point of ‘vigour, spirit and enthusiasm’ that happens when there is more information than imagination, too much stillness and not enough experimenting. I need to exercise my chops on the back side of meditation. That heightened energetic dervish slathers paint onto the canvas, pours words onto the page in paragraphs and chapters, hears the music of the rivers and streams accompanying my own footsteps as I fly home to play it out on the piano.

The vanishing point is a clue for me, a sign that I am too much of something and I need a jolt. My mind is cluttered with words or processes or advice. Or I have reflected long enough and the stillness has become a stupor. I know it is time to move. I do not know the mechanics of this process. I feel it is about connection, electrical and energetic. It is felt and manifests in a moment. It can be a surprise or it can come in the middle of a diligent effort. It is rich and deep and broad … and the source of life.

There is 1 comment for An electrical connection by Kittie Beletic

From: tatjana — Oct 30, 2009

This is so true for me as well. There are those slow times when nothing is going on and the mind slows down into the rut. On other times I learn a lot, get numerous ideas and information until it all becomes excessive weight and there is that rut again. The best are the times when the weight is just right, ideas flow at a good pace and art happens smoothly and joyfully. Maybe that is just the nature of the beast.


World of adventure and insight
by Kristina Zallinger, Hamden, CT, USA


acrylic painting
by Kristina Zallinger

N. C. Wyeth is one of my heroes! His work, in some ways, surpasses that of his son, Andrew or grandson, Jamie. Dare I say that? I prefer to be candid. It is my way. The powerful effect of N.C.’s illustrations (yes, “art”!) is overwhelming. They live in a world of adventure and insight. The elder Wyeth really knew how to paint! A lack of formal education did not get in his way. It made him stronger. No one, to date, could carry off his ability to “feel” his subject matter and give such a glorious life to it! His palette enhanced his bold images. His visual “thoughts” are etched in my mind forever! N. C. created a world that will never be forgotten.

From: Bernard Fierro — Oct 30, 2009

Thanks for the statement, I couldn’t agree more about this wonderful artist. His son and grandson are, in my opinion, totally overrated.

From: Bobby — Oct 30, 2009

This might be a cultural thing for North Americans. I am from Europe and I never read those books which N.C. illustrated. His paintings look to me as interesting illustrations, but I have seen – what in my mind is – better in Russsian art and other European art. I understand that what warms your heart when you are child, is priceless. I on the other hand was deeply moved by Jamie Wyeth’s paintings – so suspended in stillness, asking me to stop and look at things that pass through life too fast.

From: Kristina Zallinger — Jan 14, 2010


N. C. Wyeth is more than childhood nostalgia. Yes, his work IS illustration, but it, too, is painting. Check out the composition and dramatic quality. I understand that many European artist are excellent. I am just saying that N. C. is yes, an illustrator and yes, a fine artist.

If you like Jamie, Check out Andrew Wyeth. I just think that Jamie tried to emulate his father, not as successfully, however.

From: Bobby — Jan 20, 2010

Yes, I am familiar with composition and other qualities of fine art, through my many years in art academy and museums. Andrew Wyeth is a famous artist, but I find most emotional value in Jamie’s art. It’s a personal taste, maybe not worth discussing…but that’s what we do on these pages. It’s interesting to read oppinions of so many people all over the world. Cultures have incredible impact on individuals, but internet is helping cross those bridges.


Blowing by the interruptions
by Brad Greek, Mary Esther, FL, USA


“The Wave”
acrylic painting
by Brad Greek

Listening to those around him while he was at the top of his game makes no sense to me. I believe we all look for guidance and approval from our peers when we are starting out. As we grow we usually get more independent and confident in our work. And with that confidence come quickness and spontaneous work. Such as the Train Robbery, done in one morning. I find that when you rely on your own instincts and inspirations, the work will flow at a rate that is unbelievable. Letting the work guide you instead of your thoughts, technical knowledge, and the comments of others getting in the way. I’m sure that a lot of these are present subconsciously, but are so far on the back burner that the speed of the work blows by the interruptions so that they don’t have time to slow down the process.


The Dusty Jar
by Nancy Wostrel, San Diego, CA, USA


original painting
by Nancy Wostrel

I wanted to ask if you saw the painting of N.C Wyeth titled Dusty Bottle ? I saw it many years ago in the basement of the museum and the painted dust was so real you wanted to take a rag and clean off the green glass jar. It has always remained in my memory as well as my time spent staying with friends in Chadds Ford. A very special place indeed and a very special family.

(RG note) Thanks, Nancy. I did and I went back and looked at it again on the second day. Something interesting about that painting: N.C. signed it at the upper right and wrote “3 hrs.” after his name. Sorry, we can’t find any colour photos online to share.

There is 1 comment for The Dusty Jar by Nancy Wostrel

From: Gary — Oct 31, 2009

Here is a colour photo;



‘Come on over’
by Madeleine Kelly, Ridley Park, PA, USA


“Rainy day in Dooneen, Ireland”
oil painting
by Madeleine Kelly

You are in my stomping grounds. I used to have a store in Chadds Ford where there is a Bistro now near Rte 100. Andrew Wyeth and another painter whom I admired (since passed ), Rea Redifer, would frequently drop in the pub and Hanks. Rea’s work can be found at the Chadds Ford Gallery on Rte 1. He admired his friend Andrew to a fault I fear… there is a lot of passion in Rea’s work. He was a civil war history writer and painter and I believe he had some history working in film, at least that is what he told me. Please check out his work if you get a chance.

If perhaps you are traveling towards Philadelphia (we are about 20 minutes down Rte 1), I have a studio with 30 other artists in an old mill town. I like to call it “the town that time forgot.” It has lots of history and hasn’t quite gotten out of the prior century. There are 30 artists in our converted mill preparing for an open studio show in a few weeks. So the place is buzzing. We would love it if you get a chance to stop by. I am on the second floor and am offering my cell (as the doors are locked) if you would like to visit our studios. After many years of reading your twice-weekly letters it is as if you are an old friend.

(RG note) Thanks, Madeleine. By the time my letter arrived we had left Chadds Ford. Thanks also to the many readers in PA and Delaware who offered meals, drinks, visits, friendships and an opportunity to hang out. Incidentally, we saw some of Rea’s work and ate at Hanks: “Where nice folks meet and hungry folks eat.” It all made us feel, well, very welcome, very down-home USA.

There is 1 comment for ‘Come on over’ by Madeleine Kelly

From: Mishcka — Oct 30, 2009

I love your sea scape!






by Sandy B. Donn


You may be interested to know that artists from every state in the USA, every province in Canada, and at least 115 countries worldwide have visited these pages since January 1, 2013.

That includes Angela Treat Lyon of Hawaii, USA who wrote, “The Chess Game looks absolutely lickable it’s so rich. I had to get up and walk across the room to get a better look — the background is so dense with abstract dashes of such luscious color. I agree — what have we lost, indeed!”

And also J. Menard who wrote, “There is an old French proverb: ‘Everything palls, everything perishes, everything passes.’ Maybe N.C. was just bored with the knowledge that he could do beautiful work. It happens.”



Archived Comments

Enjoy the past comments below for What happens?



From: Darla — Oct 27, 2009

About letting education get in the way of your enthusiasm to make art: I’ve always thought that art principals should be presented as tools, not rules! Which ones you use and which ones you discard depend on what you are trying to do. Also, if you try to hold all the rules in your head at once, it can make you sort of self-conscious and insecure about your art attempts. Better to barge ahead and get the idea down and THEN use rules to see if they will improve it or not.

From: Henry Macpherson — Oct 27, 2009

As a boy growing up in Needham, Mass, NC Wyeth hardly read at all. He was too busy riding horses and doing chores on his family’s farm. When he started doing illustrations he fell in love with classic literature. He would read his assignments first for the story, try to figure out whether it was well written or not, then read again to find the points worth illustrating. Publishers generally gave him complete freedom. He often picked a scene or subject that was not well described in the story, in order to enlarge on and flesh out the material that stimulated him. Reading is key to an understanding of art. As an art collector I like to read and get an understanding of motivation — particularly what turns artists on. Critics do not always get to this understanding, although they sometimes do. It’s the artists themselves who disclose their lives and feelings beyond thir work. I think the habit of writing reinforces their resolve and direction.

From: Ellie Harold — Oct 27, 2009

Robert, you say the “early paintings were huge.” How big were they?

From: Anne Gilland — Oct 27, 2009

“Blind Pew” is 47 x 38 inches which is about the standard size he painted the Scribners ones.

From: Jackie Knott — Oct 27, 2009

I would have lost it had someone said my illustrations were not “real art.” Some of the finest representation of American genre is from our great illustrators. John Clymer wryly commented, “I paint the best I can do in two days, not the best I can do.” His point was well taken. Deadlines produce spontaneity in illustration other works sometimes lack. When I see the complexity and finished quality of some illustrations I wonder how they arrived there, knowing the speed in which the work was completed. It seems illustrators have perfected the “hourglass” exercise discussed in an earlier clickback.

From: anonymous — Oct 28, 2009

Your tour of the historic galleries and art of New York, Washington and Chadds Ford doesn’t mention what a mess we are in. New York is dirty, distracted and desperate. Greed still stalks the tall towers and the previous all-the-rage junk art is in free-fall. Washington’s pristine parks are alive with jogging and cycling lobbyists on their day’s off. Chadds Ford is a microcosm of what America once was and may not become again. In times like these it is no wonder that nostalgia and sentimentality are once again in vogue and will continue to be so. America needs to wake up. America doesn’t know what’s happening to her. One only needs to look at the earnest and dedicated young people of Tunis or Tientsin to see into the near and distant future.

From: Valerie Seligsohn — Oct 28, 2009

Occasionally I reply to your wonderful letters, but this time I really have to do it. N.C. Wyeth was a great illustrator, one who brought the richness of life’s experience and his sensibility to his work. His son, Andrew is, was, a mediocre illustrator, who unwittingly rode on his very talented father’s coattails. He was not a painter, and his son, Jamie, was a sad reminder of how talent can be dissipated over generations. What a travesty. I wish this was not the case, but it is my sense of the Wyeth dynasty. Yet, having been to Brandywine several times over the years, I only cherish N.C. Wyeth, whose honest response to literary content and pictorial imagery will never die.

Valerie Seligsohn Associate Professor of Art, Moore College of Art,

Philadelphia, PA

From: Robin d’Arcy Shillcock — Oct 28, 2009

Looking at N.C. Wyeth’s painted illustrations one can indeed be struck by the vigour of his brushstrokes. His 1912 Train Robbery indeed looks as if it could have been painted wet in wet, with no subsequent retouching. Many other paintings, however, look heavily painted: just look at the whites in The Vedette, and though the bottom half of Blind Pew looks sketchy, the top half shows that it was painted in various sittings. I can look at his work with a cool eye, but I prefer to let myself be drawn into them, no doubt because of the storybooks illustrated by N.C. Wyeth which I read as a child. As paintings they are attractive because of their bravado and imaginative compositions, but as “free art” they also suffer because of the strictly anecdotal basis from which they were derived. His painted illustrations brought the man fame and life’s comforts, but they also kept him trapped as an artist.

His son Andrew must have sensed this early on, and chose to follow a different, and more personal path, to become one of the truly great realists of the 20th century.

From: Claudio Ghirardo — Oct 28, 2009

Years ago, I got the chance to go to the Brandywine museum and see all the amazing works by NC Wyeth, Howard Pyle, and others. As far as I am concerned, NC Wyeth was one of the great painters of his time and the biggest shame is that back then, as well as today, illustration is not regarded as “True Art”. If you want to know how to really paint realistically, take a trip to Brandywine and spend the most amount of time you can studying the works by these great masters.

From: Linda J. Cleaver — Oct 28, 2009


I am glad you have finally made to my part of the world. It is a good time of the year to be here. Our fall colors are beginning to become full. Leaves are just starting to fall.

I hope you enjoyed the sunshine of yesterday. The rain is to be with us for short time.again.

Have a good stay and drink in all there is to see.

From: Paul Sherman — Oct 28, 2009

Your description of the Chadds Ford area really brought it back to life for me. I have always been a big fan of all the Wyeths and have always been amazed they all paint so different, each in their own way.

From: Susan Vaughn — Oct 28, 2009

Oh how those paintings bring back visions of my childhood and my eyes as big as saucers just looking at the illustrations. I have great admiration and respect for illustrators and artists who can create a scene on canvas or paper out of their head. That is great art. Looking at a photograph or painting in plein air as a reference is fine, and yes, it gives artists an opportunity to be inspired to create something more, but oh the artist who can create an entire vision out of his mind’s eye. N.C. Wyeth was a phenomenal artist, and his success paved the way for his children to seek their passions in art as well. I think Treasure Island was one of his greatest series of works and one that he is most remembered for. A bit of trivia for you – did you know that the work he did on Treasure Island paid off his home? It did. If only I could be so fortunate.

From: John Berry — Oct 28, 2009

Thank you for highlighting one of my favorite artists of all time. I love that fact that you pointed out his vitality and lust for life, this is what endears NC to me. I wish I was in Brandywine!

From: Doug Purdon — Oct 29, 2009

For anyone who wishes to know more about N.C. Wyeth there is an excellent book: The Wyeths by N.C. Wyeth – edited by Betsy James Wyeth – The Intimate Correspondence of N.C. Wyeth 1901-1945 – Published by Gambit

It is currently out of print by can be obtained second-hand on-line. The book gives and excellent view of the art world in the first half of the 20th century and an insight into the professional and personal life of one of the great illustrators.

From: Sandy Sandy — Oct 29, 2009

How serendipitous Bob! I planned a trip out there this week that got derailed. It’s been a couple of years since I was out to Brandywine, yet autumn always make me think of it… NC’s art, the Wyeth’s legacy, the smell of NC’s great studio with the huge Northern exposure windows and mile high ceilings, where those magnificent pieces of his came to life. It sure would have been a kick running into you there!

From: Victoria on Okinawa — Oct 29, 2009

This is one of the saddest lines I’ve ever read:”Pa made many dramatic changes in his life; reacting to specific artists,” says Andrew. “Even my influence was not good for him. My father lost his excitement for painting. He lost the vitality.” Makes me believe even more strongly than ever that I need to let go of all the influences that bark at me to change and just be and do what God made me to be and do. But figuring out what that is not always easy to find. One thing in this statement, though, is helpful “excitement for painting”. Finding and keeping that sense of joy, challenge and fun is key for me to retain and find that excitement.

From: Karen R. Phinney — Oct 30, 2009

I too am a huge Wyeth fan, mostly Andrew, but also N.C., and Jamie. It was Andrew’s work that when I was a teenager, made me want to learn more and become a better artist. It is interesting, too, to note that along with the nostalgia for the illustrator N.C. Wyeth there is a revival in interest in Norman Rockwell’s work. Another one who was dismissed as not a real “artist” but only an “illustrator”. He captured moments in small town America of over a half a century ago, and spent a lot of time planning his work, but somehow because it was for commercial purposes, it is seen as not as important as “fine art”. However, that is changing. It is a shame that N.C. was badgered, and felt he needed to change, by critics, who are frequently off the mark with some sort of purist agenda. The work was spectacular and speaks for itself. We are now starting to see beyond the labels, to the heart of the work and letting it speak for itself. About time!

From: Kirsten Barton — Oct 30, 2009

Hey, Robert — I know you have no shortage of topics to discuss, but do you think that you could throw in another discussion of “illustration” versus “fine art?” It seems we haven’t had one in a while, and I’d be interested in hearing what you and other folks have to say about the two.

From: Darla — Oct 30, 2009

I have to disagree with Valerie, who said that Andrew Wyeth is a mediocre painter. His art is different from his father’s, of course — more restrained and bleak. But he captures the feeling of a farm or field in winter, the melancholy of dry brown grass and the enduring solidity of the earth and her people in the quiet seasons better than anyone. They are painting different things, different ideas.

From: Gregg Hangebrauck — Oct 30, 2009

I was at the Brandywine ten years or so ago, and I toured the studio of NC also. But the greatest thrill was taking side roads and running across Kearner’s farm & looking up the hills where andrew painted the evergreen trees. I even ran across where NC was hit by the train. I believe Andrew was the best of the three, as far as pulling at my heart with his melancholy. NC was a close second, but I have never felt any connection to Jamie’s art.

From: Karen Martin Sampson — Oct 30, 2009

I was an illustrator for over 30 years and believe me there is nothing like that discipline for improving skills…deadlines and revisions were a fact of life and there was no time to wait for “inspiration” and no excuses accepted by art directors. Many illustrators are among the best and truest artists ever, and it is about time that area of the art world was given its due respect and admiration.

From: Marge Hewitt — Nov 01, 2009

“Lucky family” possibly, but highly disfunctional within the family, and suffered a tragedy that few would accept as a fair trade for the fame and fortune.

From: Marilyn Hartley — Nov 01, 2009

I enjoyed seeing your letter on N C Wyeth and mention of Howard Pyle. I studied Illustration and have seen and admired their works, both in original form and in the Scribners books. Thank you.

Having more work created in the realm of drawings, and still developing as a painter, I find that I am favoring the methods and style of James MacNeill Whistler. I wonder if you would write any thoughts you might have of this master.

From: Ben Mittelbrook — Nov 02, 2009

My mother used to pick up volumes of a classics series when shopping in the 1950’s. They were discounted as an inducement to shop, as were sets of flat and stone wares. I got to enjoy not only some ripsnorting yarns — perfect for a youngster — but to see some classic illustrations. What a great memory!



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