197
permanentcollectionsofthePhillipsMemorialGalleryinWashington,D.C.;San
FranciscoMuseumofArt;InternationalBusinessMachinesCorporation;andtheart
galleryatMillsCollege,Oakland,California.HelivesinRichmond,California.HARE,CharmingW.,Passementerie, 40 x34. Illustration—Plate 2
"Passementerieinterestedme topaint—aspassementeriein itselfglitters—
adorns—stimulates—butwithallthisnaturaladornmentandembellishmentthe
modelofmypaintingmustturntofacesomethingbigger—somethingintangible
—
somethingeternal."
ChanningHarewasborninNewYorkCityin1899.HestudiedattheArt
StudentsLeagueofNewYorkandwithRobertHenri,GeorgeBellows,andWilliam
Zorach.Heischieflyknownforfigurestudiesandportraits.One-manshowsofHare's
workhavebeenheldinNewYorkandBostonandhehasbeenafrequentexhibitor
elsewhere.In 1950 hisworkwasincludedinboththeCarnegieInternationalExhibi-
tionofPaintingsandthecompetitiveexhibition"AmericanPaintingToday"heldat
theMetropolitanMuseumofArtinNewYork.
PrizeshavebeenawardedhisworkinexhibitionsattheSocietyoftheFourArts
inPalmBeach,Florida,in1942,1943,and1944.Hispaintingsformpartofthe
permanentcollectionsoftheMuseumofFineArtsinBoston,Penn.sylvaniaAcademy
oftheFineArts,VirginiaHistoricalSociety,ColoradoSpringsFineArtsCenter,
Davenport (Iowa) Municipal .'\rtGallery, and InternationalBusinessMachines
Corporation.HelivesinPalmBeach,Florida,andOgunquit,Maine.HARMON,Lily,NurserySchool, 26 x34. Illustration—Plate 53
LilyHarmonwritesthatNurserySchool"followedobservationofmyoldestdaughter.Amy's,behaviouratschool.Ihavealwaysbeeninterestedinchildren—
theirattitudestowardsoneanother—theirawarenessofandyetretirementfrom
(eachaworlduntohimself)—thelovelinessoftheirbodies—puppylikeawkward-
ness—thewondertheyfeel—thebrightbeautyoftheirplaythings.Allthesethings
arepartofNurserySchool.Atthesametime,allthesefactorsbecomeadeparturepointwhenoneisfacedwiththecanvasitselfandthespatialrelationships—theplay
ofcoloragainstcolor,andthelinearrhythms.Whentheideaandtheexecutionmeet
inaharmonyofemotionalcolorandexpressivecalligraphy,thenthepaintingbecomes
awhole.
"Forme,thecalligraphyuponwhichthepaintingrestsislikeastructureofbones,
afoundationandbasis,withcolorre.stinguponitinatissue,flesh-likeandsensuous.
"IcannotrememberhowIfeltwhenIpaintedNurserySchool.IfIhadthe
paintingbeforemeperhapsIcouldre-livesomeoftheemotion.Theoldpaintings
(old,meaninganythingI'mnotworkingonnow)arelikechildrenwhohavegrownup
...andtherememberedjoyorpainoftheircreationbecomespartofthe'now'.
The'now'isconcernedwithtryingtoexpresswhatmovesmemostemotionally,
andalsotryingtomakethatexpressionvalidaspainting—tomaketensionspull
properlywhetherthroughlineorcolor—tomaketheobserver'sstomachquiver
with recognitionofsimilarintensity. Iwouldliketoshakefrommy heelsthe
timidityandinhibitionsoftheyounganddiveintothe freedomand powerof
maturity.Thismeanslookingdeeplyintooneselfandfacingthecanvaswithallthe
honesty,passion,courageandconvictiononecansummonintobeing."
LilyHarmonwasborninNewHaven,Connecticut,in1912.Fortwoyearsshe