For this week’s essay I return to Cushing, Maine. The photographs I took during a recent visit in late May. I make reference to two paintings and a drawing by Andrew Wyeth. For copyright reasons I am not able to reproduce them here, but I am providing hyperlinks so that you can view them online at the appropriate time.
I apologize for the inconvenience, but I want the reader to be able to understand what I am writing about.
To date I have dedicated two essays to the recent death of Andrew Wyeth who passed away in January at the age of 91. One describes a visit to Wyeth’s native Brandywine River Valley, in southeastern Pennsylvania, shortly after his death (“Remembering Andrew Wyeth,” on February 2), while the other recounts my road trip through Wyeth country along the midcoast of Maine the day after his death (“Beyond Snow Hill: A Few More Parting Words,” on February 9). I recently returned from yet another visit to Cushing, Maine and the Olson House, that old graying clapboard farmhouse above the St. George River, at Hathorne Point. Here Wyeth painted off and on for many years, and from an upstairs window he sketched the crippled Christina Olson in 1948 as she crawled home across the neighboring field after visiting her parents’ grave at the small family cemetery situated on a bluff above Maple Juice Cove. It is a moment in time captured in the now iconic Wyeth painting, “Christina’s World.”[*] “I just couldn’t stay away from there,” Wyeth would later say. “I’d always seem to gravitate back to the house . . . It was Maine.”
NEXT WEEK: Une Maudite Poutine