No more than an occasional article has been written about Robert Strong Woodward before the publication of this catalogue. Faded newspaper articles, negatives of many of the artist's work and the few journals of his paintings and exhibitions, were the research material used to construct the biography. A very personal writing about the artist cannot be crystallized from the many articles, so we turned to the people who recalled Woodward. He was well remembered, often painting from his huge Packard in which he toward the surrounding countryside. It was these recollections which were so vital to us in trying to capture the personality and style of Robert Strong Woodward.

For the help of Dr. Mark Purinton and his wife, living in Woodward's last home and studio in Buckland Center, Massachusetts, we are particularly grateful. Dr. Purinton supplied us with the wealth of newspaper clippings of Woodward's exhibitions, awards, and the accounts of the fire which destroyed his studios. Also loaned by Dr. Purinton were the original negatives of many of Woodward's paintings and chalks, the gallery exhibition notices and Woodward's original journals listing his paintings and exhibitions. As one of the surviving persons who was closest to the artist in his later years, Dr. Purinton was helpful in recalling his many memories of Woodward.

Mrs. Florence Haeberle, one of Robert Strong Woodward's to surviving cousins, was extremely helpful in sharing with us not only her knowledge of his boyhood summers with her family in Buckland, but so much of the early material in this exhibition.    It   was     with    her     original

enthusiasm and interest in the American Studies Group that the catalogue was launched. Mr. F. Earl Williams and his wife, two of Woodward's closest friends, deserve special thanks. They helped us in many ways, especially in showing slides of Woodward's several studios and works that helps to explain the artist's style. Mr. Williams helped in locating many paintings and loaned one of Woodward's original journals that was so vital in assuring as complete a checklist of works as possible. Some of Mr. Williams' photographs have been used in this catalogue.

Special thanks are given to the many other people with whom we talked while the catalogue was in preparation and who added greatly to our personal feeling for the artist. Others sent information about their paintings that was most useful in the checklist.

More than 200 galleries and museums throughout the United States helped locate widely scattered paintings. Without their interest in the American Studies Group could not exist, and we appreciate it.

Thanks must be expressed to Mr. Daniel Hodermarksky, Art Director at the Deerfield Academy, whose creative suggestions added greatly to this catalogue and exhibition; Mr. Gilbert Stacy who arranged for the transportation of the many works which were shown in the Hilson Gallery during April and May, to Mr. William bond for his help in arranging the exhibition and the reconstructed part of Woodward's last studio in Buckland, Massachusetts; to Mrs. Arlene Brown and Mrs. Edward Banach who put many hours into typing copy and letters; to Mr. Emil Lesenski who printed the catalogue and took an active interest in it.

We are particularly grateful to the people who were so generous in letting us their paintings for our exhibition, leaving empty spots on many walls.

My sincere thanks goes to James C. Edwards, Henry G. Haff, Frederick B. Meyer, Richard Q. Opler and Edward J. Starr who devoted many hours and patience to making the catalogue complete.

The greatest appreciation must be given to the to creative forces behind the American studies group; Mrs. Sheldon J. Howell and Mr. Robert L. Merriam. They have been aware of and sensitive to our work and continually helpful in making suggestions to better it. For their faith in us and never ending interest in the catalogue we are indebted.

To the Deerfield Academy and headmaster David Pynchon we would like to express our most sincere gratitude for the opportunity to undertake a study of this magnitude. There were many times when we worked late hours to make deadlines, but there was always much encouragement.

There was a certain fascination in reconstructing the artist's life from his writings, newspaper articles, his works and the memories of people who knew him. Continually other facets of the artist would be revealed, and it would grow more evident that Woodward truly saw New England and painted it as Robert Frost lauded it in his verse.

For one who is lived in Deerfield, the scenes Robert Strong Woodward painted of old barns, old houses, or open pastures with their weathered fences, we have an immediate appeal because they are present in our daily lives.

May 1970 • Deerfield, Massachusetts

GARRETT E. HACK '70
Chairman, American Studies Group.