Trefonides Exhibition Catalogue

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Steven<br />

<strong>Trefonides</strong>:<br />


Steven <strong>Trefonides</strong>:<br />

Secrets<br />

A <strong>Catalogue</strong> to accompany an exhibition<br />

held at the<br />

Tides Institute & Museum of Art<br />

Eastport, Maine<br />

August 18 - September 18<br />

Curated by: Martha Lewis<br />

Cover: Two Girls in Tree, Framed charcoal drawing, 2000

“Life imitates Art far more than Art imitates Life . . . Life holds the mirror up to<br />

Art, and either reproduces some strange type imagined by a painter or sculptor, or<br />

realises in fact what has been dreamed in fiction. . . . For what is Nature? Nature<br />

is no great mother who has borne us. She is our creation. It is in our brain that she<br />

quickens to life. Things are because we see them, and what we see, and how we see<br />

it, depends on the Arts that have influenced us. . . . At present, people see fogs, not<br />

because there are fogs, but because poets and painters have taught them the mysterious<br />

loveliness of such effects. There may have been fogs for centuries in London. I<br />

dare say there were. But no one saw them, and so we do not know anything about<br />

them. They did not exist till Art had invented them. Now, it must be admitted,<br />

fogs are carried to excess. They have become the mere mannerism of a clique, and<br />

the exaggerated realism of their method gives dull people bronchitis. Where the<br />

cultured catch an effect, the uncultured catch cold. “<br />

~Oscar Wilde, ‘The Decay of Lying: An Observation’, 1889 1<br />

I have a strong visual memory from sometime<br />

in the 70’s, of standing and looking at the objects propped on a mantelpiece in<br />

the <strong>Trefonides</strong>’ South End house. The long white marble mantle had a couple of<br />

vintage photographs resting on it, portraits. Old, detailed images of men in strange<br />

heavy clothes obviously a part of another world and time. One in particular<br />

riveted me: his craggy gaunt face, the hooded eyes. Every detail was there-craters<br />

and pocks and hairs, in forensic detail. It was so intimate, as if he were a neighbor<br />

or visitor, who could stop by for at any moment.<br />

I am not sure how or where Steve got this photograph of Abraham Lincoln, but<br />

this was my first experience of the historic past as a living reality. Cozied up to<br />

this startling image was a series of ordinary objects, small clutter: playing cards,<br />

toothpicks, a clock or maybe candle and some beautiful delicate things from India,<br />

various bits from a multitude of times and places all as concrete as myself.<br />

Is this memory accurate or have I embroidered on it over time, altering it with each<br />

re-visitation into a fiction I truly believe?<br />

Probably both.<br />

This visual syncretism, an eclectic merging of past with the now, comes back to me as I sit<br />

here writing this essay on <strong>Trefonides</strong>’ work,<br />

as an emblematic image. It seems poignant<br />

when considering his complex and detailed<br />

works presented here in this show.<br />

The mantle for me acts like a maquette of the<br />

dynamic which takes place in his images:<br />

dramas which include layered presences,<br />

figures from old photographs, real and<br />

imagined, shuffling among ordinary things in<br />

places that blend and shift their<br />

references. The eroding strata of meanings,<br />

colors and surfaces merge into unique wholes<br />

that defy explanation.<br />

Certain words come to mind again and again<br />

when looking over Steven <strong>Trefonides</strong>’s oeuvre:<br />

rich, detailed, sensual, intricate, loaded.<br />

Essayist William<br />

Corbett writes of his work:<br />

“At times I thought of him as<br />

Love in the Bathroom<br />

a conjurer…shifting weather often<br />

surrounds, like smoke, the images that Framed woodcut print | 29” H x 32 7/8” W | 1968<br />

form in a <strong>Trefonides</strong>. His pictures have<br />

a dream-like clarity and the muzziness,<br />

the unconscious we are in when we are dreaming. That is a way of saying that the quality of<br />

<strong>Trefonides</strong>’s imagination, as sensuous and peculiar as one could ask for, is always on view in<br />

his work.” 1<br />

1 Wilde, Oscar. The Decay of Lying. 1891.<br />

as published in his book Intentions<br />

1 Corbett, William. “Creiger-Dane Gallery Show.” Artmedia Magazine.

“Timelessness” was once thought to be an essential ingredient to great art. 1 Like the<br />

eternal cycles on a Greek vase, our collective being and recursive dramas were what<br />

counted. Archetypes, Truth with a capitalized “T,” Universal dramas, religious and<br />

secular, were everything; they drove the Renaissance, neoclassicism, the academy with<br />

a capitalized “A.” Then, around the 19th<br />

century, perception swung 360 degrees the<br />

other way: to be interesting, one had to evoke<br />

one’s era, location, culture, its discontents and<br />

social morays. One was nothing as an artist<br />

who did not reflect their time with a gimlet<br />

eye. The particular became essential. Details of<br />

technology, dress, and behavior: the Flaneur in<br />

the city became the ideal 2 for the images artists<br />

produced for their audiences.<br />

Both approaches traffic in the subtext of sex<br />

and mortality and Steven <strong>Trefonides</strong> puts it all<br />

in there: archetypes, real people, a pell-mell of<br />

images and scenes that have attracted him, in<br />

unsettling settings. Like real dreams or<br />

fairytales, there is often a menace below the<br />

surface, people cluster in groups but stay alone,<br />

and eye each other jealously. These are liminal<br />

spaces, and Something is always about to<br />

happen.<br />

Embrace<br />

Framed oil on paper | 39 1/8” H x 31 1/2”<br />

W | 1987<br />

Steven <strong>Trefonides</strong> was one of my first examples of a professional artist but I didn’t<br />

have context, didn’t know about what the other artists were doing-the Boston<br />

Expressionists, for example-or why that work would be different from the art coming<br />

out of New York in the 60’s and 70’s, where Abstract Expressionism morphed into<br />

Minimalism and Pop, away from ”post-war figuration”. 3 Now his nuanced, moody<br />

dramas seem to make sense with the whole zeitgeist of the Boston art scene, with its<br />

celebration of personal narrative and its resistance to minimalism.<br />

Boston was a magnet to an international, intellectual crowd, with a thriving art scene<br />

of galleries, artists, schools and museums. The artists were eclectic and loosely knit<br />

– a band of individuals, collective mainly in the sense that they were all somewhat<br />

reclusive individualists, and that they were all committed and intent on their personal<br />

vision.<br />

<strong>Trefonides</strong>’ own relationships with various artists- Hyman Bloom, Nina<br />

Bohlen, David Aronson, answer certain questions: these sets of interests<br />

were not born out of a vacuum, yet <strong>Trefonides</strong>’ work has a unique humor<br />

and psychological drama that is all his own. He was younger than the<br />

core of the Boston Expressionists, and is generally considered to be from<br />

the second generation of BE artists, mostly graduates from the Boston<br />

Museum School under the influence of teacher Karl Zerbe. But they all<br />

did know each other, spend time together, and there is a synergy: that’s<br />

important to the story too: it was this community which drifted up north<br />

and congregated in the cool of Lubec. It’s central, in fact, to the story of<br />

how the <strong>Trefonides</strong> family came to be in Lubec for the summers, and<br />

how, in turn, Lubec came to be important to his work; the landscapes and<br />

spaces working their way into his intricate dramas.<br />

It was Nina 1 that had brought Hyman 2 to Lubec, and then later Steve<br />

and Phyllis, and others. The first time, they stayed at Nina’s while she was<br />

away. The next year, they rented a place for themselves and Steve drew<br />

with charcoal on a large sheet of paper pinned to the dining room wall.<br />

“Nude in Hammock” was his first large work made in Lubec.<br />

Nude in Hammock<br />

Framed charcoal drawing | 48” W x 48” H | 1966<br />

Th<br />

t<br />

s<br />

h<br />

1 Keats, John. “Ode on a Grecian Urn.” In The Poetical Works of John Keats. 1884.<br />

2 Baudelaire, Charles. The Painter of Modern Life. 1863.<br />

3 This term usually refers to Art in Britain after the war- but also applies to<br />

American artists like Ben Shahn, Phillip Guston, The Ashcan School, and others.<br />

1 “Nina Bohlen - Artist.” Nina Bohlen. Accessed July 2016. http://<br />

ninabohlenart.com/.<br />

2 “Hyman Bloom.” Hyman Bloom. Accessed July 2016. http://www.<br />


Something about the place spoke to them both, and in 1968 when he won<br />

the Blanche Colman Prize for Painting they took the money and got a<br />

place of their own. Houses were plentiful and cheap, plus Phyllis was<br />

gifted: She had always been able to find the most wonderful housesbargains<br />

with remarkable features. Once they got the white house with its<br />

yard and old tree they set up there for every summer from then until now,<br />

packing children and supplies into a blue VW bus, making the journey<br />

from the South End and the sweat of urban Boston summers to the far<br />

end of Maine.<br />

In the 1960s, Lubec began to have a summer art scene with a flow of city<br />

visitors and locals cooking out on the beaches, sharing food and life. Lois<br />

and Ryerson Johnson 1 instigated parties, and there were tides of visiting<br />

artists. It made sense that many of them became seasonal migrants, prices<br />

were low, space was available. Steven <strong>Trefonides</strong>, Hyman Bloom and Nina<br />

Bohlen, Paul Caponigro, Marie Cosindas, Harold Tovish, Kahlil George<br />

Gibran, Marianna Pineda, Iso Papo, and many others all came through,<br />

spending time and working. For this exhibit we have featured a selection of<br />

their output on the second floor gallery: Bohlen’s luminous mono-printed<br />

trees, Bloom’s tumultuous piles of rubble, Caponigro’s<br />

cathedral-like forests. We have works owned by <strong>Trefonides</strong> by Bloom and<br />

Bohlen which echo his own sensibilities. There is something special about<br />

seeing works artists give each other, works they surround themselves with.<br />

These are plein-air observations which sometimes make their way into his<br />

studio work, and we also have some examples of the<br />

stereopticon slides and early photographs in his collection that so fascinate<br />

him; frozen, often funny, moments from the past that echo throughout<br />

his oeuvre. This is being paired with the Tides Institute’s own collection of<br />

such images- which feature scenes of Cobscook Bay, Machias, Eastport,<br />

Lubec. All of this is to give a more in depth-perhaps secret-glimpse into<br />

the role time, place and circumstance play in the creative life of the artist.<br />

End of The World<br />

Unframed ink on paper | 14” W x 11” H | 1962<br />

Two Girls in Tree<br />

Framed charcoal drawing | 36 1/3” W x 28 3/4” H | 2000<br />

1 Lois Johnson, an illustrator, and her husband, pulp-fiction author Ryerson,<br />

were famous for their parties

Despite the groups’ scorn for the stereotypic “Maine Landscape” genre, the<br />

environment and the culture of the place seeped into their work as if by osmosis:<br />

tangled woods, coastlines, filtered dappled light all feature. Steve may not be a<br />

landscape painter, and rocky shores and mossy forests are not his subject matter,<br />

but the years of drawing here, living here, sleeping here, dreaming here, the long<br />

summers spent working outside and in the studio have meant that the place and<br />

its particularities permeate his work, appearing as naturally as the sly and<br />

sophisticated people who inhabit his images.<br />

Lubec Wall<br />

Matted unframed ink drawing over<br />

black chalk | 23 3/4” W x 18 1/2” H<br />

| 1970<br />

Fact and fiction meld, characters<br />

reappear-women in trees, card<br />

players, men fighting, poets and<br />

their admirers-again and again<br />

mixing and remixing like the flow<br />

of guests at a cocktail party. The<br />

spaces they inhabit are familiar and<br />

fraught-dark antique looking<br />

bathrooms, fields at sunset or<br />

dawn, tangled woodlands, rocky<br />

outcroppings near ponds. There is<br />

a combination of innocence and<br />

experience-operators and ingénues<br />

in his troupe of players. As art critic<br />

Sebastian Smee put it in his<br />

Introduction to <strong>Trefonides</strong>’ 2012<br />

exhibit Through the Looking Glass:<br />

“his forms of pictorial dreaming<br />

have a frictionless quality, a “<br />

perhaps this, but why not that?”<br />

aspect, that keeps him-and us-on our<br />

toes.” 1<br />

Firefly Green<br />

Framed pastel on paper | 32” H x 26” W | 1996<br />

His sensibility is grounded in turn-of-the-century French avante garde<br />

painting and in the history of photography. The early uses of photography as a<br />

means for telling of jokes 2 or as erotica, or as a form of travel-all permeate the<br />

worlds he creates within his images.““ we used to go rummaging through the<br />

junkshops at the North station”,…” I’ll never forget my excitement at first<br />

coming across a stack of stereopticon slides of Victorian Egypt. Some of these<br />

images have haunted me ever since.”” 3<br />

Quoddy Head<br />

Unframed black ink on paper | 14” W x 11” H | 1973<br />

1 Smee, Sebastian. “Smee Introduction to Through the Looking Glass . Botolph<br />

Club Catalog, 2012.<br />

2 See: L’Arroseur Arrosé. Directed by Louis Lumière and Auguste Lumière.<br />

Performed by Benoît Duval and François Clerc. France, June 10, 1895. Film.<br />

3 Taylor, Robert. “The Haunting of Steven <strong>Trefonides</strong>.” Boston Globe, March 25,<br />


As an artist, he moves masterfully, flexibly, between drawing, painting,<br />

printmaking and pastel. Strains of Vuillard, Degas, Watteau, Bonnard and<br />

Goya filter in and out. The colors in <strong>Trefonides</strong> works are pungent and<br />

intense, with rich dark masses and layers, and surprising citrusy punches.<br />

He was drawn to, in the words of Maria Morris Hambourg, "The haunting<br />

power of photographs to commingle past and present, to suspend the world<br />

and the artist's experience of it in unique distillations.” 1<br />

Like the impressionists before him, he uses photography with its<br />

unpredictable framing and blurs to inform his compositions, unlike the<br />

impressionists, he uses photography as an independent art-form going back<br />

and forth between media, without complex.<br />

“Indeed, you can feel the influence of photography in his love for strange<br />

body postures and in his resistance to conventional compositions.<br />

<strong>Trefonides</strong> embraces the arbitrariness of the camera’s framing, so that, for<br />

instance, two figures will overlap, even while a significant portion of the<br />

picture remains empty.” 2<br />

For Secrets, we wanted to get a closer look at the way he works and reworks<br />

his cast of players and imagery, honing his subjects, recontextualizing them,<br />

moving with them around over time. They might dress differently but we<br />

get to know them-they reappear in slightly altered guises. <strong>Trefonides</strong> has<br />

said that the role of costumes in his work: “partly that comes from the old<br />

photographs; but partly, too from my interest in social roles. The<br />

characters who are dressing up in these visual dramas are obviously<br />

assuming a role….” 1 They are detailed and ambiguous, drawing the viewer<br />

in-to spend time in what is clearly an existential drama, a theater of being.<br />

He “takes on the manner of a diviner, picking up vibrations, subterranean<br />

whispers.” 2 “ The Spell,” a work in which those vibrations and whispers are<br />

particularly disturbing and palpable, gets shown here in three versions using<br />

three very different media, offering a change to really look at what makes<br />

the works tick and examine where their unique power comes from.<br />

Both photography and painting are a form of observation, both capture our<br />

shadowy realities, and reveal what we wish to mask, our lurking fragilities,<br />

anxieties, neuroses and desires. What are secrets and why do we create<br />

them, guard them, generate more? We are taught not to lie, to be<br />

apparently transparent and up front and yet none of us really are or even<br />

can be.<br />

Mayerling<br />

Framed woodcut print | 29” H x 32 7/8” W | 1966<br />

The Spell<br />

Unframed oil on canvas | 48” W x 50.5” H | 1985<br />

1 Maria Morris Hambourg is Curator at the Department of Photographs,<br />

The Metropolitan Museum of Art New York. This text is from the exhibition catalog: The Waking<br />

Dream: Photography’s First Century. Selections from the Gilman Paper Company Collection by<br />

Maria Morris Hambourg, Pierre Apraxine, Malcolm Daniel, Jeff L. Rosenheim, and Virginia Heckert<br />

(1993) The title comes from Keats: Ode to a Nightingale (also the carter family song: Winding<br />

Stream).<br />

2 Smee, Sebastian. “The Man Who Wouldn’t Stop Painting.” Boston Globe, April 26, 2009.<br />

Accessed July 2016. http://archive.boston.com/ae/theater_arts/articles/2009/04/26/the_man_who_<br />

wouldnt_stop_painting/.<br />

1 Taylor, Robert. “The Haunting of Steven <strong>Trefonides</strong>.” Boston Globe,<br />

March 25, 1980.<br />

2 Smee, Sebastian. “The Man Who Wouldn’t Stop Painting.” Boston<br />

Globe, April 26, 2009. Accessed July 2016. http://archive.boston.com/ae/<br />


For the series of works involving women in trees we see them iterated in a vast<br />

range of moods, implications and materials: pencil, ink, oil paint, print. “Nude in<br />

Hammock” from 1966 reverberates through 1973’s The Nest, 1993’s In the Forest<br />

and 2001’s Two Women in The Trees.<br />

“Often described as a romantic painter, he nevertheless has a streak of mischief,<br />

and is always seeing the comedy in romance. He describes the figures in one<br />

painting as having "desires percolating around them." Another drawing, from the<br />

1960s, shows four naked women in a vigorously drawn Maine landscape,<br />

<strong>Trefonides</strong>'s saucy answer to the conventional New England genre of windswept<br />

coastal landscapes. "Four women on the rocks," he says wryly, after moving it into<br />

view: "It's like a drink."” 1<br />

Two Women in The Trees<br />

Oil on canvas | 20” H x 22 3/4” W | 2001<br />

Two Women on Swing<br />

need info | |<br />

1 Smee, Sebastian. “The Man Who Wouldn’t Stop Painting.” Boston Globe, April<br />

26, 2009. Accessed July 2016. http://archive.boston.com/ae/theater_arts/articles/2009/04/26/the_man_who_wouldnt_stop_painting/.

His process is introverted-as a studio artist works alone and needs to enjoy that<br />

solitude-but he has always been generous artist as well. Steven <strong>Trefonides</strong> was one<br />

of my first examples of a professional artist, and as a child it seemed<br />

perfectly normal that he should have his large Newberry street studio, that black<br />

and white photography of a spare and candid nature would also go hand in hand<br />

with energetic and colorful paintings, drawings and prints, that, of course, one<br />

traded artworks for exotic items like canopy beds and went to India to take<br />

photographs, and that one’s practice above all meant working very, very hard.<br />

Notebooks, sketchbooks, and reams of paper got filled with drawings, and when<br />

that wasn’t happening, and pictures weren’t being taken with cameras, then there<br />

were other’s images to be looked at. Art books with pages marked everywhere,<br />

stereopticon slides and relics from the photographic past to be perused,<br />

consumed, enjoyed. Visual messages were everywhere.<br />

One theme may have began years ago, a thread left dangling might be picked up<br />

again years later, re-worked into a new set of meanings. This is the privilege of<br />

time and of mastery-repetition yields richness and understanding that cannot be<br />

reproduced without this process of hard labor. It’s earned. “For many people, there<br />

is nothing quite so moving or inspiring as the sight of youthful talent blazing<br />

away with total commitment,” writes Smee, “But in fact, there is something more<br />

moving and, in its way, more impressive. It's the sight of creative talent at the<br />

other end of life. The painter or performer who has dedicated a whole life to his<br />

or her calling; the artist who has stamina, who has gone on creating, who, despite<br />

setbacks, has never given up, and keeps on finding more to discover, more to<br />

express. Steven <strong>Trefonides</strong> isn't done yet.” 1<br />

Nor should he be: At age 90, <strong>Trefonides</strong> is still in his studio, still drawing, still<br />

avidly reading, consuming the images in books, still looking, still making, because<br />

art is life. He and Phyllis still make the drive 50 years later, breaking up the trip,<br />

going more slowly, this time with dogs in tow instead of children, the now adult<br />

children popping through with their own offspring and spouses, to run in the yard<br />

and poke around the rocky beaches, the farmers market, Quoddy Head.<br />

The real secret that <strong>Trefonides</strong> shows us, performs by turning out the pockets of<br />

his mindscapes for us again and again, is this: his realities are now informing the<br />

landscapes and places that surround us. Maine’s woods and horizons echo a<br />

<strong>Trefonides</strong>-or start to look very much like a Bohlen, a Caponigro, a Bloom.<br />

Martha Willette Lewis,<br />

Resident Curator, The Institute Library, New Haven CT.<br />

June, 2016<br />

The Rainbow<br />

Framed pastel on paper| 33 1/4” W x 29 1/2” H | 1985<br />

As a young artist, he offered me studio visits, advice, support and help over the<br />

years, and his model of work ethic and intellectual curiosity have stuck with me.<br />

He always has been wonderful at treating other artists-including art students<br />

and those just starting out-with respect and interest. One of the most impressive<br />

aspects of a visit to <strong>Trefonides</strong>’s studio is the commitment to drawing-he has<br />

chests full of works on paper, years of notebooks, years of inky scrawled lines,<br />

of gestures and movement. His drawing hand is relaxed and assured with some<br />

areas being intensely detailed and others left as open-ended lines dissipating into<br />

the light of the page.<br />

1 Smee, Sebastian. “The Man Who Wouldn’t Stop Painting.” Boston Globe, April<br />

26, 2009. Accessed July 2016. http://archive.boston.com/ae/theater_arts/articles/2009/04/26/the_man_who_wouldnt_stop_painting/.

Steven <strong>Trefonides</strong>: Timeline<br />

Sunrise<br />

Pastel on paper | 24 W x 18 H | 1999<br />

1926 Born New Bedford<br />

Attended The Swain School of Design, New Bedford<br />

1944-1945 Air Force WW2<br />

Attended Vesper George School of Art 1924-1983<br />

1950-1954 G.I. Bill painting major at the Boston Museum School, met<br />

Hyman Bloom there<br />

1951 William Maynard, Steven <strong>Trefonides</strong> – July 15, Watercolors<br />

The Decordova Museum of Art, MA.<br />

1954 Louis comfort Tiffany Grant to travel: Italy, France, Spain, Greece<br />

1954- 1955 Photography Show – 5 Photographers -Steven <strong>Trefonides</strong>, John Brook,<br />

Henry B. Kane, Donald Robinson, Phokian Karas,<br />

Decordova Museum, MA.<br />

Retrospective exhibit at Fitchburg Museum<br />

Taught at Vesper George for 3 years<br />

1956 Photographs by Stephen <strong>Trefonides</strong>, Decordova Museum, MA.<br />

1958 Summer grand prize for painting at Portland (Maine) art festival<br />

1959 Fulbright to India<br />

1968 Blanche Colman award-bought Lubec house with prize money<br />

1968 Retrospective exhibit at Brockton Museum<br />

1968 Exhibit at Fuller Art Museum (now the Fuller Craft museum)<br />

1969 Produced book, India, a collection of photographs, Grossman-Viking press<br />

1969-1975 Taught art at UMass Boston<br />

1971 Retrospective exhibit at University of Storrs CT<br />

1978 Book From Shtetl To Suburbia: The Family In Jewish Literary<br />

Imagination written by Sol Gittleman, drawings by Steven <strong>Trefonides</strong><br />

1980 Artist of the Year St. Botolph Club, Boston, MA.<br />

1984 Fellow, The Camargo Foundation, Cassis, France<br />

1986 Prints and drawings exhibit at Boston Public Library<br />

1988 Exhibit, Alfred J. Walker gallery, Newberry Street<br />

1989 Book: Photographs: Beacon Hill, Boston 1989 By Steven <strong>Trefonides</strong><br />

2012 Retrospective Through the Looking Glass, St. Botolph Club, Boston, Ma.<br />

2016 Retrospective Steven <strong>Trefonides</strong>: Secrets at The Tides Institute & Museum,<br />

Eastport, Maine<br />

Major collections for painting and photographic works include:<br />

MFA Boston, MET NY, MoMa NY, Dartmouth College, Wadsworth Athenaeum, CT.,<br />

The New Britain Museum, CT., The Decordova Museum, Brandeis University, MA.,<br />

Chase Manhattan Bank, NY.

Steven <strong>Trefonides</strong>: Secrets<br />

List of Works in the <strong>Exhibition</strong><br />

Title Medium Year Size<br />

End of the World<br />

Nude in Hammock<br />

Lubec Wall<br />

Beached<br />

Scallop Man<br />

Filleting Haddock<br />

Quoddy Head<br />

The Nest<br />

The Spell<br />

The Spell<br />

The Spell<br />

The Rainbow<br />

Unframed ink on paper<br />

Framed charcoal drawing<br />

Matted unframed ink drawing<br />

Unframed drawing charcoal on<br />

paper<br />

Unframed drawing black ink on<br />

paper<br />

Unframed drawing black ink on<br />

paper<br />

Unframed black ink on paper<br />

Unframed Editioned<br />

Lithograph (more available in<br />

TMA flatfiles)<br />

Gouache and ink on paper<br />

Matted mono-print<br />

Unframed oil on canvas<br />

Framed pastel on paper<br />

1962<br />

1966<br />

1970<br />

1970<br />

1973<br />

1973<br />

1973<br />

1973<br />

1984<br />

1985<br />

1985<br />

1985<br />

11 x 14<br />

48 x 48<br />

23 3/4 x 18 1/2<br />

30 x 22<br />

14 x 11<br />

14 x 11<br />

14 x 11<br />

22 3/4 x 31<br />

14 x 11<br />

11 x 14<br />

48 x 50.5<br />

33 1/4 x 29 1/2<br />

Bibliography<br />

Baudelaire, Charles. The Painter of Modern Life. 1863.<br />

Corbett, William. "Creiger-Dane Gallery Show." Artmedia Magazine.<br />

"Hyman Bloom." Hyman Bloom. Accessed July 2016. http://www.hymanbloom.com/.<br />

Keats, John. "Ode on a Grecian Urn." In The Poetical Works of John<br />

Keats. 1884.<br />

L’Arroseur Arrosé. Directed by Louis Lumière and Auguste Lumière.<br />

Performed by Benoît Duval and François Clerc. France, June 10, 1895.<br />

Film.<br />

"Nina Bohlen - Artist." Nina Bohlen. Accessed July 2016. http://<br />

ninabohlenart.com/.<br />

Smee, Sebastian. "The Man Who Wouldn't Stop Painting." Boston<br />

Globe, April 26, 2009. Accessed July 2016. http://archive.boston.com/ae/<br />

theater_arts/articles/2009/04/26/the_man_who_wouldnt_stop_painting/.<br />

Smee, Sebastian. "Smee Introduction to Through the Looking Glass."<br />

Botolph Club Catalog, 2012.<br />

Taylor, Robert. "The Haunting of Steven <strong>Trefonides</strong>." Boston Globe,<br />

March 25, 1980.<br />

Embrace<br />

Love in the Bathroom<br />

In The Forest<br />

Framed oil on paper<br />

Framed pastel on paper<br />

Framed charcoal on Paper<br />

1987<br />

1988<br />

1993<br />

39 1/8 x 31 1/2<br />

44 7/8 x 37 1/2<br />

33 x 41<br />

Wilde, Oscar. The Decay of Lying. 1891.<br />

as published in his book Intentions<br />

Hurricane in the Ukraine<br />

Women in The Trees<br />

Framed pencil drawing<br />

Unframed watercolor and<br />

1996<br />

1996<br />

13 3/4 x 12 3/16<br />

14 x 17<br />

colored pencil<br />

Firefly Green<br />

Framed pastel on paper<br />

1996<br />

32 x 26<br />

Mayerling<br />

Framed woodcut print<br />

1998<br />

29 x 32 7/8<br />

Two Girls in Tree<br />

Framed Charcoal drawing<br />

2000<br />

36 1/3 x 28 3/4<br />

Two Women in the Trees<br />

Dog In Chair<br />

Oil on canvas<br />

Unframed ink drawing<br />

2001<br />

20 x 22 3/4<br />

Our Tree<br />

Unframed drawing<br />

Nina Bohlen monoprint<br />

Unframed monoprint<br />

Hyman bloom ink drawing<br />

Framed ink drawing<br />

Nina’s Steven <strong>Trefonides</strong><br />

Framed ink drawing<br />

3 monoprints by Nina Bohlen<br />

Framed monoprints

Acknowledgements<br />

Thanks to: Nina Bohlen, Steve and Phyllis <strong>Trefonides</strong>,<br />

and their extended family, in particular Tony Rinaldo<br />

for the photography- Tides Institute & Museum of Art,<br />

framers, donors, who else?<br />

Designed by: Lanie Nowak<br />

Printed by:


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