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6 Entries
Jeff Hinman
July 12, 2024
I was fortunate enough to have been a student in John’s first art history course at Dartmouth, Art 50, American Art. We did not realize that he
was a pioneer in teaching American art at Dartmouth and beyond.
He is responsible for my travels over the years to visit museums to see
the paintings and artwork that he had presented to us in class.
He once gave a talk at the Munson Williams Proctor Institute in Utica, NY
years ago, and we were able to talk awhile. He was genuinely glad to be
reacquainted with a former student from his from his earliest days of teaching.
He was a wonderful and enthusiastic professor. He will be missed.
Jeff H., Enfield, NH
Todd Baker
June 11, 2024
John Wilmerding was a mentor to me at Dartmouth, an inspiration and a funny guy. He did more to bring the glories of 19th Century and early 20th Century American art into the public consciousness than anyone else, through his books and his work at Dartmouth, Princeton, the National Gallery, the Shelburne and Crystal Bridges. If you´ve never seen the works from his personal collection, now in a room at the National Gallery, you should make a point to find them. I last talked to him about a great Childe Hassam Isle of Shoals landscapes show in Salem 7 years or so ago. He was as enthuiastic as ever and his Brahmin accent was in full force. I will miss him.
Kathleen A. Foster
June 10, 2024
I was a graduate student at Yale when John Wilmerding spent a semester as a visiting professor from Dartmouth, clad in plaid lumberjack shirt and Redwing boots. He taught a survey on American art, and I well remember him restlessly pacing back and forth at the front of the class, delivering a torrent of commentary that summarized the narrative of American art and the canon that we all celebrated as the young field came into its own in the 1970s. His scholarship on Fitz Henry Lane, marine painting, the still life painting of Harnett and Peto, the portraits of Eakins, and the phenomenon we all called "Luminism" contributed to the late-twentieth-century rise of American art history. I was furious at him for fixing Alice Walton´s sight on The Gross Clinic, but I forgave him because I understood he only wanted the best for the National Gallery (where he served for many years in many capacities) and Alice´s admirable new Crystal Bridges Museum. We became friends and colleagues on the board of the Wyeth Foundation for American Art, where his wisdom and good-natured chuckle will be much missed. If you´d like to spend an hour listening to John tell stories about his formation as a collector in the orbit of his grandmother, Electra Webb, his experience at Harvard and the National Gallery (and the notorious exhibition of Wyeth´s Helga paintings), tune in to Wyeth Conversations: John Wilmerding (youtube.com), recorded last year by Will Coleman for the Wyeth Study Center at the Brandywine River Museum of Art

Martha J. Fleischman
June 10, 2024
A fine scholar who expressed many original ideas throughout his career, including original studies of American Luminist landscapes, the work of Andrew Wyeth and Winslow Homer, and the idiosyncratic still life paintings of John F. Peto. John ably served on our board of The American Art Journal for many years and, in 1998, was the very first recipient of the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History, bestowed by The Archives of American Art, Smithsonian Institution. He made an enormous contribution to the field of American art history and prudently advised many collectors and museums, sharing his knowledge and offering wise council. He was an unusual and sensitive gentleman and will always be missed.
Joyce Hill Stoner
June 9, 2024
John Wilmerding truly embodied what is meant by a gentleman and scholar. I knew his scholarly publications for many years, but in 1999, when I joined the board of the Wyeth Foundation I saw him twice a year for meetings, lunches, and dinners for the next 25 years. I loved to sit next to him and hear about his new and often surprising book projects, such as the unexpected places artists might choose to place their signatures or artworks that showed subjects wearing spectacles. [It was a great triumph if I could come up with an example, from my world of art conservation, of an instance he did not already know about, such as Benjamin Franklin's spectacles in a Red Grooms sculpture.] We shall deeply miss his presence and his thoughtful comments at our upcoming meetings. Joyce Hill Stoner
Bartle Bull
June 9, 2024
As one of John Wilmerding's longest -serving close friends, I am struck by how deeply he is missed by many, including by myself. In the spring of 1957, John invited me to be his roommate for our next three years as Harvard undergraduates.. We continued as roommates during graduate school as we pursued our different interetss. Neither of us was very athletic, and we enjoyed different intellectual interests, both at college and thereafter. But we shared a delight in stimulating and witty conversation. He was the first of my friends to find an avocation at a serious high level. I remember when he bought his first distinguished piece of art, a marine painting by Fitz Hugh Lane, which he especially treasured for its use of light on sea and air. He always admired his grandmother, the great collector Electra Havemayer Webb, for her early dedication to American art. He extended that interest as a student, a collector and as a distinguished professor and curator. In both his writings and his conversation, John had a rare gift of using words to describe and explicate the deeper qualities and artistic role of any work he was discussing. John Wilmerding's qualities and character will live on through his teachings, his writings and his generous gifts to ur nation.
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