APRIL 1, 2019 -- HAPPY APRIL FOOL'S DAY!

ROCKWELL KENT WILDERNESS CENTENNIAL JOURNAL

100 YEARS LATER

by Doug Capra © 2018-19

April 1, 2019

HAPPY APRIL FOOL’S DAY!

ABOVE – Rockwell Kent is fourth from the left in this photo. He loved a practical joke. He loved theatrics. He and his family often performed their own plays, and he and Kathleen participated in community theater. His close friend, George Chappell, was actively involved in NYC’s theater world, and Kent had many connections there. I don’t know the context of this photo. Perhaps some Kent fan or scholar can inform us. It looks like it might be from a play or sketch. The photos in this entry are courtesy of the Rockwell Kent Gallery, Plattsburgh State University, Plattsburgh, N.Y. BELOW – Sometimes Kent could go too far with what he considered practical jokes. He learned that in Newfoundland during World War I. This photo shows him standing in front of his little studio at Brigus, Newfoundland. When he learned locals thought he might be a German spy, he placed a sign on the building identifying it as a chart room and bomb shop, and took this picture. Not extremely funny considering the world situation. His other “practical jokes” in Newfoundland got him in further hot water and ended up with him and his whole family being deported.

This website will continue even though Kent and Rockie have left Alaska and are on their way via steamship and rail to New York. The Admiral Farragut arrived in Seward at 7:30 p.m. on Saturday, March 29, 1919. It had stopped at Kodiak, Seldovia and Cook Inlet ports, loading up with 600 barrels of pickled herring at Halibut Cove before arriving at Resurrection Bay. As you can see from Kent’s telegram to Kathleen in the last entry, he thought they’d be leaving that evening. That probably would have been the schedule since usually these ships only stayed in port long enough to offload and load up. Due to a snow storm, the vessel didn’t depart Seward until 4 o’clock Sunday morning. We can be pretty certain that Kent got a copy of the March 29^th copy of the Seward Gateway and read his letter. We find “Rockwell Kent and son” listed in the Monday, March 31^st Seward Gateway with other passengers departing from Seward aboard the Admiral Farragut.

The journey home after an adventure like Kent’s Alaska sojourn is never the same as the voyage out. Expectations are different. One may regret the departure but there’s often a longing to get back home. I find no Kent letters to Kathleen written on the steamship or train home. In the next entry I’ll post some of the mid-to-late March letters Kathleen wrote to Kent. I suspect he got some but not all of them before he left. You’ll see why they are so important. Kent had much to think about on that journey home. Much to wonder about. Would his Alaska work be welcomed? Most of the paintings weren’t finished, but many pen and inks were. In fact he had sent a few paintings, impressions mostly, and some pen and inks to Kathleen, Carl Zigrosser and George Chappell. They’d been circulated along with his illustrated journal and people were excited. Though unable to sell most of his paintings, Kent was neither unknown nor unappreciated in the New York’s art world. For years he had been considered an up-and-coming contender. His Monhegan Island paintings had received much acclaim, but his Newfoundland work had disappointed many. He had morphed from realism to mysticism and symbolism and critics wonder why. Most of the Newfoundland work hadn’t sold. The NYC art world insiders knew he was in Alaska and Chappell, Zigrosser, Kathleen, the Sterner’s and others made sure some of the work he sent home was seen, especially his detailed and unusual Chart of Resurrection Bay, and pen and inks like North Wind. There was talk and anticipation in the New York art world about Kent. Alaska had been in the news recently. In 1916 famed world travel writer, Frank Carpenter, had traveled to the territory to explore the route of the new Government Railroad. In 1916 he published a series of articles with many photos about his trip. One had focused on Seward alone, a town he called “The New York of the Pacific.” Another had covered the Kenai Peninsula.

On the steamship and train home Kent must have also thought much about Kathleen and the children. From the letters I’ll post in the next entry, you’ll see Kent knows he’s got to get out of New York, away from Hildegarde and other temptations. He’s promised Kathleen he’ll strive to be faithful but he doesn’t trust himself. He is as excited as Kathleen is about their journey together to find a perfect rural home somewhere in New England far away from the crowded world and the corrupting influence of the “herd.” Kent is fed up with the current state of affairs. He wants his version of solitude – a place where he, his family, and his friends can isolate themselves from a decrepit civilization. If his Alaska art is as unsuccessful as was his Newfoundland art – so be it. At least he’ll have his family, friends and his own version of Paradise. But within his romantic idealism, he needs Kathleen’s strength, her feminine energy, her perfection of womanhood, her worshiping love and mothering, her unquestionable confidence in his genius, and her willingness to love him in the passionately physical way he needs. That kind of subjugation only can keep him faithful.

 From this point in I’ll be writing ahead into the summer, fall and winter of 1919 and through 1920. Much will happen. Kent returns. Meets up with Kathleen and his family. Plans a show of his and Rockie’s pen and inks. It’s so successful that he’s urged to turn his illustrated journals into a book. He reintegrates into the NYC art world and adjusts and narrows the narrative of his Alaska adventure. With the help of Dorothy Canfield he and Kathleen find an old farm in Arlington, Vermont, purchase it and name it “Egypt.” Zigrosser and Chappell and others help him incorporate himself – “Rockwell Kent, Inc.” – allowing him enough money to support his family, finish his paintings, and write Wilderness during the fall of 1919 and winter of 1920. Kent invites Olson to join him in Vermont, and the old Swede comes. He doesn’t stay long. The NYC art world knows Kent is working on his Alaska work and there’s much anticipation. In March 1920 his show opens and Wilderness is published. Success. Fame. Money. This may not have been what Kent expected – but it is certainly what he craved. Can he survive this notoriety, this celebrity, this recognition?

BELOW – Since today is April Fool’s Day, here are a few other Kent photos from the Rockwell Kent Gallery.

BELOW -- Kent didn't shy away from his reputation with woman. The writing on this photo says "Do you really have etchings there?" and it appears to be signed "Danny." I don't know the context of this photo. If any reader does, please let us know.

BELOW -- Kent is in the bottom row, far right. If anyone knows what's going on here, besides just fun, do let us know.