Dear Artists, I am so happy to announce that we plan to resume programs at Kuerner Farm beginning in July with a few minor changes made to ensure everyone’s safety. Plein air and photography opportunities will begin this summer, and classes with Karl J. Kuerner will resume in mid-September. Please see links below for information and to register.
Philadelphia Mayor Jim Kenney released a revised budget for fiscal year 2021 in response to the coronavirus COVID-19 pandemic on May 1, 2020. Businesses have been closed and workers have been off the job for weeks, reducing the city’s tax revenue significantly. The Office of the Department of Finance projects that without any changes the city would have a $649 million deficit next year. The city cannot legally operate with a deficit. We understand that hard decisions needed to be made and that cut backs and program budget reductions were inevitable. However, to completely eliminate an office that supports a vital industry in the city of Philadelphia, especially one that has been hit very hard during this crisis, is short sighted and should be reversed.
In the new budget, the Office of Arts, Culture, and the Creative Economy was budgeted $0 dollars, down from approximately $4.4 million, effectively closing the office. Most of that budgeted money goes directly to the Philadelphia Cultural Fund, which gives grants to hundreds of non-profits in the city.
The presentation of the budget by the Mayor is only the first step. It still must be approved and voted on by City Council before July 1.
According to the Greater Philadelphia Cultural Alliance, the arts and cultural sector generates $4.1 billion in economic impact annually and supports 55,000 jobs. That creates $1.3 billion in household income and $224.3 million in state and local taxes.* The creative economy includes but is not limited to artists, musicians, painters, sculptors, dancers, actors, filmmakers, graphic designers, venues, theaters, museums, galleries, bartenders, waiters, chefs, box office workers, bouncers, sound engineers, tech crews, art/dance/recording studios, and all employed by those entities, as well as support industries such as accountants, lawyers, hotels, ride shares, parking, public relations, marketing, and media. On the other side there are the fans, patrons, concert goers, theater attendees, and more who support the arts and make the purchases.
Most of this industry has been shut down during this crisis and needs support now more than ever to rebound during the economic recovery.
The Office of Arts, Culture, and the Creative Economy’s mission is to close the gap in access to quality cultural experiences and creative expression through the support and promotion of arts, culture and the creative industries; connecting Philadelphians to enriching, arts-infused experiences; linking local artists and cultural organizations to resources and opportunities; and preserving the City’s public art assets. http://creativephl.org
The OACCE is also responsible for the Music Industry Task Force, the Mayor’s Cultural Advisory Council, Art in City Hall, all of Philadelphia’s public art, and funding the Philadelphia Cultural Fund which gives grants to numerous Philadelphia arts and culture non-profits.
Philadelphia is a vibrant city teeming with culture that has been driving our identity for hundreds of years. The art created in Philadelphia reaches well beyond its borders and has touched the world and helps drive our other industries through attention and attraction to our area. As we look to rebound and recover from this crisis, there are certainly sectors that are essential to our health and safety and must be prioritized. However, unless we take care to ensure our cultural health is also revived, we risk losing our spirit.
Philadelphia’s creative economy deserves proper representation in City Hall. Understandably, it is likely not possible for the OACCE to be budgeted at the same level as the original budget, however, the industry’s economic impact alone justifies that the office’s budget be more than zero. We are simply asking that the City of Philadelphia Office of Arts, Culture, and the Creative Economy not be eliminated.
Seated Woman (Study for “La Grande Jatte”), c. 1884-1885, by Georges Seurat. Conte crayon on laid paper, Sheet: 11 13/16 × 6 1/2 inches. The Louis E. Stern Collection, 1963. Image courtesy of Philadelphia Museum of Art, 2019.
The Impressionist’s Eye
Philadelphia Museum of Art to present the most extensive exhibition of Impressionism and Post-Impressionism ever to be assembled from its collection
April 16 – August 18, 2019
This spring the Philadelphia Museum of Art will present a broad survey of Impressionism and Post-Impressionism. Drawn almost entirely from its renowned collection, this exhibition will bring together more than 80 works in a variety of media—painting, sculpture, prints, drawings, and pastels— to illuminate the achievements of some of history’s most beloved artists. The Impressionist’s Eye will feature many of the museum’s most celebrated paintings—among them Claude Monet’s Japanese Footbridge and the Water Lily Pool, Mary Cassatt’s In the Loge, Henri de Toulouse-Lautrec’s At the Moulin Rouge: The Dance, and Vincent van Gogh’s Sunflowers—offering fresh insights into these works and placing them in conversation with other major examples by these artists and their contemporaries. For example, Renoir’s ambitious Great Bathers, newly conserved on the centenary of the artist’s death, will be shown alongside treatments of the same theme by Edgar Degas and Paul Cézanne.
The Impressionist’s Eye will include a number of important works on paper (shown in two rotations to avoid overexposing them to light) that have not been on view in the galleries for a decade or more, emphasizing the importance that the artists of these movements attached to working in a variety of media. Among these will be exquisite renderings in pen and ink by Van Gogh, sheets from Cézanne’s sketchbooks that were last exhibited at the museum in 1989, a drawing by Lautrec last shown at this museum in 1956, and one by Berthe Morisot that will be placed on view for the first time.
Timothy Rub, the George D. Widener Director and Chief Executive Officer, said: “The Philadelphia Museum of Art contains one of the country’s most acclaimed collections of 19th century art, but rarely have we had the opportunity to show our Impressionist and Post-Impressionist holdings as comprehensively as we are able to do in this exhibition. Assembling them in The Impressionist’s Eye will enable us to convey the innovative and often boldly experimental character of the work of these artists as well as how fluidly they moved from one medium to another. The presentation of this exhibition in the Dorrance Special Exhibition Galleries is accompanied by a beautiful new publication devoted to the collection. It also comes as the consequence of the comprehensive renovation—the first in nearly 25 years—that we are undertaking this spring of the galleries in which we show our collection of later 19th-century European painting, sculpture, and the decorative arts. They will be closing temporarily as we proceed with much-needed improvements in tandem with the construction of the next phase—entitled the Core Project—of our facilities master plan designed by Frank Gehry.”
The development of Impressionism began in France in the 1870s in the work of artists such as Monet, Renoir, and Pissarro, and set the stage for the bold experiments with color, line, and form that would follow over the next several decades and radically alter the course of modern painting. The exhibition will include a number of works that were presented in the several Impressionist exhibitions held in the 1870s and 1880s, as well as informal sketches and studies that could be considered more experimental or personal in nature.
The Impressionist’s Eye will offer visitors new perspectives on the inventiveness and vision that the artists of this movement brought to their subjects. The choice of bold cropping and unusual points of view, their flattening of space and use of vibrant color and vigorous brushwork imbued their work with a bracing sense of modernity which startled contemporary audiences. Their radically way of painting also reflected a broad fascination with photography and with Japanese (Ukiyo-e) woodblock prints. Visitors will also see a significant number of works by many of the key figures of Post-Impressionism such as George Seurat, Vincent van Gogh, Paul Gauguin, and Paul Cézanne, each of whom took the innovations of the Impressionists as their point of departure and then evolved in new and often dramatically different directions.
The exhibition has been organized around a series of themes that highlight the shared interest of these artists in certain subjects. Among these are Nature, The Modern City, Everyday Objects (or still life), People, and Bathers.
The introduction of commercially produced paint in tubes and the convenience of portable easels and paint sets, combined with the greater mobility afforded by the development of railroads, fostered the growing popularity of painting en plein air, or out-of-doors. The opening section of the exhibition demonstrates how firmly the artists associated with Impressionism were committed to recording their direct observations of nature and making the variability of light, color, and atmosphere a central element of their work. Among the highlights of this section are Camille Pissarro’s Railroad to Dieppe (1886), Monet’s Bend in the Epte River near Giverny (1888), Cézanne’s Mont Sainte-Victoire (1902-04), as well as a lively pen and ink drawing executed in 1888 by Van Gogh titled Haystacks, which is remarkable for its swirling lines, bold dashes, and lively dots.
Paris provides the main inspiration for the next section of the exhibition, The Modern City. Some artists concentrated on the architecture of the French capital, capturing scenes of its grand boulevards or popular urban entertainments such as cabaret, ballet, and the theater. Artists such as Renoir, Pissarro, Edgar Degas, and Mary Cassatt captured many different aspects of the urban experience—the kinetic energy of great crowds traveling to and fro or a single figure caught at a moment of quiet reverie. A Woman and Girl Driving, by Cassatt, shows a modern woman—the artists’ elder sister—boldly taking the reins of a horse-drawn carriage in Paris alongside the niece of Degas. Toulouse-Lautrec’s At the Moulin-Rouge (1889-90) captures the demi-monde at play, with a dancer kicking up her skirts as she performs the can-can amid a crowd of top-hatted men. At the Paris Opera, Degas’s The Ballet Class, conveys the rigor of young girls learning their craft as a stage mother slumps with fatigue into a chair. Among the group of conté crayon drawings by Georges Seurat included in the exhibition, is a rare rendition of a woman, seated on the bank of an island in the Seine, which served as a study for the artist’s masterpiece, La Grande Jatte.
Another section focuses upon the different ways in which artists such as Edouard Manet and Paul Cézanne reanimated the traditional theme of still life painting, imbuing it with a new spirit and sense of ambition, aptly characterized by the latter when he said, “I want to astonish Paris with an apple.” Flower-filled vases (Renoir), artisanal cakes (Caillebotte), or a woven basket (Manet) were convenient subjects for the artists’ experimentation. “A painter can say all he wants to with fruit and flowers,” observed Manet, who focused on this familiar genre in nearly a fifth of his canvases. In these works, visitors are invited to witness everyday objects transformed through color, texture, and line.
Many of these artists were also keen observers of people. As Van Gogh noted in 1885, “Painted portraits have a life of their own that comes from deep in the soul of the painter and where the machine [the camera] can’t go.” His treatment of the postman Roulin’s wife clutching her baby Marcelle, created in 1888, possesses a luminous, almost otherworldly glow. In this section of the exhibition, works in clay, graphite, pastel, and paint reveal just how thoroughly the Impressionists and Post-Impressionists up-ended longstanding traditions of rendering the human figure. Drawings such as Cézanne’s Peasant Girl Wearing a Fichu and such sculptures as Degas’s Little Dancer, Aged Fourteen, (modeled in wax, 1878-81 and cast in bronze, about 1922) reflect the unique qualities that different media offered to these artists to enable them to capture the unique character and vivacity of their subjects. Responding to the recent advent of photography, artists sought to convey the character of the sitter in ways that seem both direct and spontaneous, as demonstrated in Bethe Morisot’s Young Woman with Brown Hair, 1894.
The same observations can be made of their treatment of the timeless subject of the nude, a theme that especially fascinated Renoir, Degas, and Cézanne. Renoir’s Great Bathers, (1884-87) will be seen in The Impressionist’s Eye for the first time since the completion of a year-long conservation treatment and cleaning, a project generously supported by the Bank of America Art Conservation Project. The artist labored over this canvas, seeking to establish a new direction for his work and to create an image that would be both contemporary in spirit and rival the great masters of the Renaissance. The installation will enable visitors to appreciate it in a state that now more closely resembles how it looked when the artist completed it, and in the company of some of the greatest works of the late 19th and early 20th centuries.
“For three years Renoir wrestled with this work,” notes Jennifer Thompson, the museum’s Gloria and Jack Drosdick Curator of European Painting & Sculpture & Curator of the John G. Johnson Collection, who organized the exhibition. “Just howexhaustively, we knew from notes left by Berthe Morisot, but seeing the cross-sections and x-rays taken by our specialists in Conservation has reaffirmed precisely how much he questioned himself and started over, again and again.”
The Impressionists Eye, as an exhibition drawn from the collection, also offers a record of collecting, tastes, and insight into the cultural life of Philadelphia in the 19th and 20th centuries, beginning with Mary Cassatt, the American in Paris who early on persuaded her family members in this city and others around the country to purchase the work of the Impressionists, touching off a new vogue in collecting. “Philadelphia was a vibrant center for collecting in the during this period,” Thompson notes, “and the museum’s Impressionist holdings were indelibly shaped by the taste and civic spirit of those individuals, much as today’s collectors of contemporary art collectors enrich the cultural life of our city.”
Support The Impressionist’s Eye has been made possible by Presenting Sponsor Bank of America.
Contributions to this exhibition have been made by The Robert Montgomery Scott Endowment for Exhibitions, The Laura and William C. Buck Endowment for Exhibitions, The Gloria and Jack Drosdick Fund for Special Exhibitions, The Harriet and Ronald Lassin Fund for Special Exhibitions, Lyn M. Ross, Joan F. Thalheimer, The Jill and Sheldon Bonovitz Fund for Exhibitions, and an anonymous donor.
Support for both The Impressionist’s Eye exhibition and the reinstallation of the galleries of nineteenth-century European painting has been generously provided by Lois G. and Julian A. Brodsky.
Support for the reinstallation of the galleries of nineteenth-century European painting has been generously provided by Barbara B. and Theodore R. Aronson, Harriet and Ron Lassin, Martha McGeary Snider, and other donors.
Credits as of February 28, 2019
Publication The exhibition is accompanied by Impressionism and Post-Impressionism: Highlights from the Philadelphia Museum of Art, the first publication from the museum to focus on its internationally renowned Impressionist and Post-Impressionist collections ($35). Written by Jennifer A. Thompson with contributions by Joseph J. Rishel and Eileen Owens, and co-published by the Philadelphia Museum of Art and Yale University Press (240 pages; 224 color, 8 black-and-white illustrations), it focuses upon one of the most significant collections of Impressionism and Post Impressionism in the country, with two hundred Cézannes, twenty-three Monets, and more than fifty Renoirs.
Thompson’s introductory essay examines the circumstances and individuals—including Mary Cassatt’s brother, the Philadelphia railroad executive Alexander J. Cassatt, depicted in a painting by his sister—that led to the formation of the collection. It provides entries on ninety highlights, including Cézanne’s The Large Bathers, Degas’s Little Dancer, Aged Fourteen, Van Gogh’s Sunflowers, Monet’s Japanese Bridge and Waterlily Pond, Toulouse-Lautrec’s Moulin Rouge, and Renoir’s Great Bathers. Paintings, sculpture, and drawings by figures such as Cassatt, Seurat, Manet, Pissarro, Alfred Sisley, Morisot, and Auguste Rodin are presented together, providing a rich and encompassing view of these artists and the innovative works they created across mediums.
The entries explore the artists’ aims and challenges, discuss conservation discoveries, and consider the works within the contexts of the art market, social history, fashion, and politics. Comparative illustrations, such as related works from Philadelphia and other collections, preparatory drawings, X-rays demonstrating substantial alterations, and period photographs, add to an understanding of each work.
Changes in the Nineteenth Century Galleries Beginning March 25, 2019, seven rooms dedicated to nineteenth century paintings on the first floor of the main building will close for renovation, including galleries 151, 152, 159, 156, 157, 160, 161. Several of these will reopen in July, and the full suite will be reopened following the conclusion of The Impressionist’s Eye. Currently closed for renovation are galleries 150 and 153. On March 25, these galleries reopen with works by Couture, Courbet, Corot, and Millet, a new installation focusing on the rejection of idealism, the treatment of “ordinary” subjects, and technical innovations in painting outdoors and in the use of bold, gestural brushwork.
Curator Jennifer Thompson, The Gloria and Jack Drosdick Curator of European Painting & Sculpture & Curator of the John G. Johnson Collection
Location Philadelphia Museum of Art, Dorrance Special Exhibition Galleries, 2600 Benjamin Franklin Parkway, Philadelphia, PA 19130 215-763-8100 Tuesday–Sunday, 10:00 a.m.–5:00 p.m. Wednesday & Friday: Main building open until 8:45 p.m. Closed Monday except for some holidays
Thank you to the Social Media team at The Philadelphia Museum of Art for the content of this post.
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Set between two flowing fountains and tree-lined pathways, the James A. Michener Art Museum’s Pfundt Sculpture Garden captures the essence of Bucks County’s rolling terrain. Credit: Photo by B. Krist for VISIT PHILADELPHIA®
PHILLY GALLERIES SET THE SCENE FOR PICTURE-PERFECT GARDENS
Art Often Comes With A Side of Floral Beauty In Philadelphia
PHILADELPHIA – Throughout the Philadelphia region, art galleries and museums sit amid colorful gardens, quiet woodlands and serene meadows that accentuate the art found in both indoor and outdoor galleries. Here’s a look at some of the region’s museums and attractions that celebrate beauty inside and out:
Abington Art Center– This vibrant cultural organization, known for its summer concert series, occupies part of the 27 acres of historic Alverthorpe Manor in Montgomery County. Inside, three galleries show as many as six regional and national art exhibitions annually. Outside, Katasura trees dot a meandering walkway through Sculpture Park, which is open and free to the public 365 days a year. 515 Meetinghouse Road, Jenkintown, (215) 887-4882, abingtonartcenter.org
The Barnes Arboretum & Foundation – In suburban Merion, the Barnes Foundation’s 12-acre arboretum is astonishingly diverse for its size, with more than 2,500 varieties of woody and herbaceous plants, many rare. The arboretum opens to visitors May to September. The Barnes Foundation on the Benjamin Franklin Parkway honors its horticultural legacy with landscaped lawns, trees, park, fountain, contemplative walkways and outdoor seating on its 4.5-acre site. That location’s Garden Restaurant also features outdoor courtyard dining, while internal gardens throughout the building encourage visitors to imagine they are strolling directly into the landscapes they’re admiring on the walls. Arboretum, 300 N. Latch’s Lane, Merion, (215) 278-7200; Foundation, 2025 Benjamin Franklin Parkway, (215) 278-7200, barnesfoundation.org
Brandywine River Museum of Art– It takes just one glimpse of the Virginia bluebells, Cardinal flowers and holly and bayberry bushes that border this onetime gristmill to understand why this landscape has served as muse for so many local artists. The Brandywine River Museum is internationally known for its unparalleled collection of works by three generations of Wyeths and its fine collection of American art. Outside, visitors can join guided walks through the wildflower and native plant gardens, which were dedicated by Lady Bird Johnson and, during the annual plant sale on Mother’s Day weekend, can take home seeds cultivated right on the grounds, as well as lovely in-bloom plants. 1 Hoffman’s Mill Road, Chadds Ford, (610) 388-2700, brandywinemuseum.org
James A. Michener Art Museum – This Bucks County destination is home to the Edgar N. Putman Event Pavilion, a 2,700-square-foot indoor-outdoor space designed by architecture firm KieranTimberlake. The pavilion showcases museum programs—jazz nights, lectures, lively family events—within an elegant, all-glass structure that extends into the Patricia Pfundt Sculpture Garden. Inside, the museum’s eight galleries accommodate special exhibitions and a 3,000-piece permanent collection, including many Pennsylvania impressionist paintings that capture the essence of the county’s rolling terrain. 138 S. Pine Street, (215) 340-9800, Doylestown, michenerartmuseum.org
Penn Museum – After viewing the impressive collection of international art and artifacts inside this historic University of Pennsylvania museum, visitors can relax in two magnificent gardens. The Warden Garden, now wheelchair accessible, features a classic koi pool, expansive lawns and mosaics created by Louis Comfort Tiffany. The Stoner Courtyard, built on the philosophy that places for nature are necessary in our built-up world, includes sculptural pieces by A.S. Calder, a cobblestone walkway and a beautiful marble fountain. Inside, guests marvel at ancient objects including African and Native American masks, Maya sculpture and Egyptian mummies. 3260 South Street, (215) 898-4000, penn.museum
Philadelphia Museum of Art – Best known for its international exhibitions and world-renowned collections of more than 240,000 works, the crown jewel of the Benjamin Franklin Parkway is more than a museum. It’s also the unofficial gateway to Fairmount Park. The museum’s bi-level sculpture garden, with its combination of terraces, lawns, flora and water features, showcases an ever-changing sculpture collection overlooking Fairmount Park, the Schuylkill River, the four-acre Azalea Garden and the grand, neoclassical Fairmount Water Works. Works on display include large-scale pieces by Claes Oldenburg Ellsworth Kelly and Sol LeWitt. 2600 Benjamin Franklin Parkway, (215) 763-8100, philamuseum.org
Rodin Museum – Movie-theater magnate, philanthropist and Rodin collector Jules Mastbaum, known for his eye for elegance, hired architects Paul Cret and Jacques Gréber to create this jewel-box museum. The venue’s intimate settings are perfect for taking in the extensive Rodin collection, one of the greatest single collections of his work outside Paris. Visitors seem to enjoy the front garden’s reflecting pool and tapestry of magnolia trees, shrubs and colorful flowers—some dating back to the 1920s—as much as they do The Thinker and Eternal Springtime.2151 Benjamin Franklin Parkway, (215) 763-8100, rodinmuseum.org
Second Bank of the United States – Inside this Parthenon-like structure is a first-rate collection of approximately 200 historic portraits of Founding Fathers, early leaders, explorers and others, many by Charles Willson Peale. Just steps away are several gardens. The Signers’ Garden, with native plants and trees, commemorates the creators of Declaration of the Independence. The 18th-Century Garden replicates formal English gardens of the day with geometrically patterned raised flowerbeds, walking paths, and a pergola. The Rose Garden and Magnolia Garden are secluded, colorful and fragrant refuges. Second Bank, 420 Chestnut Street; Signers’, 5th & Chestnut Streets; 18th-Century, Walnut Street between 3rd & 4th Streets; Rose and Magnolia, Locust Street between 4th & 5th Streets; (215) 965-2305, nps.gov/inde
Winterthur Museum, Garden & Library – Textiles, paintings, prints, furniture and ceramics dating from 1640 to 1860 make the former home of Henry Francis du Pont a favorite for fans of Americana. Nature enthusiasts are drawn to the 60-acre garden nestled in the 1,000-acre country estate. Highlights of the garden include eight acres of azaleas, naturalized bulbs displays, peonies and primroses. Trails lead from the garden through rolling meadow, woodlands and waterways. If the kids get antsy, a short trip across the Troll Bridge leads to the Faerie Cottage in the Enchanted Woods. 5105 Kennett Pike, Winterthur, Delaware, (800) 448-3883, winterthur.org
Woodmere Art Museum – At the top of the Chestnut Hill neighborhood of Philadelphia, this gem of a venue tells stories of Philadelphia’s art and artists, including N.C. Wyeth, Benjamin West and Violet Oakley, as well as new and emerging contemporary artists. The 19th-century stone Victorian mansion sits on six acres dotted with sculptures by Dina Wind and other Philadelphia-area artists surrounding Harry Bertoia’s sinuous fountain sculpture, Free Interpretation of Plant Forms. 9201 Germantown Avenue, (215) 247-0476, woodmereartmuseum.org
VISIT PHILADELPHIA® is our name and our mission. As the region’s official tourism marketing agency, we build Greater Philadelphia’s image, drive visitation and boost the economy.
On Greater Philadelphia’s official visitor website and blog, visitphilly.com and uwishunu.com, visitors can explore things to do, upcoming events, themed itineraries and hotel packages. Compelling photography and videos, interactive maps and detailed visitor information make the sites effective trip-planning tools. Along with Visit Philly social media channels, the online platforms communicate directly with consumers. Travelers can also call and stop into the Independence Visitor Center for additional information and tickets.
Thank you to Visit Philly for the content of this post.
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Life drawing, portrait drawing and painting, short poses/croquis, still life set-ups, noir lighting, Sunday April 23rd, 10:00am – 10:00pm. $15.00 cash for come and go all day. All proceeds benefit Sunshine Arts, an artist-in-residence outreach program encouraging neighborhood kids to learn the wonderful worlds of dance. music, literature, and art.
The Plastic Club, 245 S. Camac Street,The Avenue of the Artists, Philadelphia, PA, 19107
“Since 1897, The Plastic Club has been devoted to the promotion and preservation of the visual (plastic) arts in Philadelphia. The busy gallery schedule offers several annual exhibitions for members and non-members, as well as invited artists in solo and group exhibitions. Members include well-known Philadelphia artists.
The name ” Plastic Club,” suggested by Blanche Dillaye, referred to any work of art unfinished, or in a “plastic” state. The term also refers to the changing and tactile sense of painting and sculpture.
Among the founding members of The Plastic Club were the “Red Rose Girls” — Violet Oakley, Jessie Willcox Smith, and Elizabeth Shippen Green — outstanding artists of their time. The name was given to this group of talented women by their teacher Howard Pyle.”
Ms. Sheila Modglin started Sunshine Arts at 41 Sunshine Road in the summer of 2004. She invited children from the neighborhood to listen to stories as they sat around the fish pond in the front yard. The kids enjoyed helping to water the plants and feed the fish.
Since then the organization has grown significantly. Now, resident artists Mr. Patrick O’Banion, Ms. Kat Lehmer, and Mr. Fen Jeeters teach classes to children of all ages from the community. Classes are scheduled after school during the week and on Saturdays. Regardless of the listed class schedule, children come to Sunshine Arts daily to talk, do crafts or get help with homework. Often, they enjoy Mr. Patrick’s fresh baked bread, homemade soup, cookies, or other wholesome snacks when they visit.
The goal of Sunshine Arts is to enhance the education and personal growth of our future generations. Executive director, Sheila Modglin grew up with a very strong sense of community within her family; “We would do any thing for each other. I want to share the sense of community that I have in my life with all the beautiful people right here surrounding this home. The house itself is a manifestation of living art and was accomplished through hard work from my generous and creative family and friends.”