Floriography: The Language of Flowers - Beverly Hallam Exhibited at Cove Street Arts
Originally conceived as an early April show, as both an antidote to the cruelest month’s lingering gloom, and a reminder that spring, with its florid proliferation of life, was on the horizon, Floriography feels even more timely in its new slot as our first post-lockdown exhibition.
Its message more immediate, urgent, and life-affirming… This exhibition presents a conversation between the work of four talented and stylistically diverse female artists, each in dialogue with her subject matter, with her media and the act of mark-making, and with floral painting as historical genre.
The exhibition also includes a selection of works on paper from the estate of Maine Master and nationally known pioneering postwar female artist, Beverly Hallam. These works span from 1961 to 2007, and media include pastel, acrylic, ink, oil monotype and charcoal. They beautifully display the artist’s verve and virtuosity as well as her enduring fascination for floral still lifes.
BEVERLY LINNEY HALLAM
November 22, 1923 - February 21, 2013
Beverly Hallam was born in Lynn, Mass. on Nov. 22, 1923, the daughter of Alice Linney Murphy and Edwin Francis Hallam. She graduated from Lynn English High School. During her early years, she studied clarinet and saxophone. In 1945, Hallam received a B.S. Ed. from the Massachusetts College of Art and in that year she received a position at Lasell Junior College (Auburndale, MA) where she was Chairman of the Art Department until 1949. Following coursework at Cranbrook Academy in 1948, she received her M.F.A. from Syracuse University in 1953.
From 1949-1962, Hallam was professor at the Massachusetts College of Art where she taught Painting, Drawing and Design. There, she taught the first courses in Photography and Theater Arts, and led students to experiment with avant-garde effects in set painting, costume design, lighting, projection, and taped electronic music. She supervised the Saturday Morning High School Art Classes.
An avid photographer, Ms. Hallam travelled to Europe and compiled many illustrated lectures on art subjects which she gave throughout the country. From the early 1950s, Hallam was one of the earliest artist-adopters in the U.S. of Polyvinyl Acetate—or Acrylic—now ubiquitously recognized as a fine art medium. Known for her large airbrushed flower canvases and for experimental printmaking, Hallam had 45 solo exhibitions in museums and galleries and participated in 280 group shows. Her work is in the permanent collections of many museums and corporations and in private collections in the U.S., Canada, France, Belgium, and Switzerland—including those of the Harvard Art Museums, Farnsworth Art Museum, Ogunquit Museum of American Art and National Museum of Women in the Arts.
Although she taught full time, Hallam never gave up painting. Over the course of a practice that spanned 56 years, she experimented with media and approaches, ever open to new ideas and technical approaches to making. In 1963, Hallam resigned from teaching to live and work full time in Maine, first in Ogunquit and then in York.
Hallam had gallery affiliations in Boston, Chicago, Dallas, Florida, and Maine. Her exhibition history included retrospectives at the Addison Gallery of American Art (1971) and at the Farnsworth Art Museum, Rockland (1998). In that same year, Midtown Galleries in New York mounted a large traveling exhibition focused on Hallam’s innovative use of airbrush, and Carl Little’s monograph Beverly Hallam: An Odyssey in Art was published. In 1990, the Evansville Museum of Arts and Science compiled an exhibition in Indiana that toured to five other states. Her work was recognized with several awards, including "Distinguished Alumni Award, Massachusetts College of Art" and "Maine College of Art Award for Achievement as a Visual Artist." The Union of Maine Visual Artists, as part of the Maine Masters Project featured her brilliant career on film in Beverly Hallam: Artist as Innovator in 2011, directed by Richard Kane.
Hallam maintained an active studio at Surf Point until her death on February 21, 2013. Her papers are held in the Archives of American Art, Smithsonian Institution. Her legacy includes the conception, with friend and patron Mary-Leigh Smart, of Surf Point Foundation, whose mission is to be an inclusive residency program in their former home on the York coast.
