| Biography Resume Statement |
| 41 Court Street Belfast ME 04915 207 338 1669 |
| 211 Avenue New Smyrna Beach FL 32169 904 427 5591 |
| Harold Garde |
| SUMMER |
| WINTER |
| I was born in New York City and lived in apartments in the Bronx, Brooklyn and Manhattan. After three years at City College, I was in the US army air forces. When I returned to school for my undergraduate degree, I went to the University of Wyoming studying art under Ilyia Bolotowsky, Leon Kelly and George McNeill. I took my masters degree at Columbia University in New York City. I married and had four children. I taught Art in New Jersey before I became a designer of commercial interiors in New York City. In 1968 I joined the adjunct faculty of Nassau Community College on Long Island, New York. In 1971 I began teaching full time in the schools of Port Washington. I left in 1984, when my second wife and I moved to Belfast, where she developed her career as a writer and I could spend full time in my studio. I divide my time with studios in Florida and Maine. |
| Abridged Resume |
| One Person Exhibitions |
| Farnsworth Art Museum Rockland, ME, 2001 Ormond Memorial Art Museum, Ormond Beach, FL, 1998 DeLand Museum, DeLand, FL, 1996 Brest Museum, University of Jacksonville, FL, 1996 Lakes Gallery, South Casco, ME, 1995 Harris House, Atlantic Center for the Arts, New Smyrma Beach, FL, 1995 I.A.M. Gallery, Santa Fe, NM, 1993 Maine Art Center, Wiscasset, ME, 1993 Icon Gallery, Brunswick, ME, 1992 Frick Gallery, Belfast, ME, 1991, 1992, 1994 Wade Wilson Gallery, Chicago, IL, 1990 |
| Selected Public Collections |
| Farnsworth Art Museum, Rockland, ME Bibliotheque Nationale, Paris, France Fine Arts Museum of New Mexico Bates College, Lewiston, ME Reading University, England John Hancock Insurance Company, Boston, MA |
| Artist's Statement |
| When a theme occurs that seems worth exploring because there are many possible variations, that comes almost with a sigh of relief. I have an abstract expressionist background. That movement was the most excitingly new development when I was a young painter, and much that excited me then still motivates me. I remain interested in what the paint can do. I am excited by the making of marks that reveal and responds to my thoughts and actions. The subject matter, the theme, serves to establish identification, an initial focus. With the subject identified, my concentration can be on the subsequent abstract qualities and the formal qualities becomes the objective of my working. A shape, a form, that is easily identifiable serves me well. Over the years I have used the image of chairs, faces, puppets, and now works that are related to the shape of the kimono. The shape of the kimono does so much that I like. It is a universally worn garment, one that is worn by men, women, and children, and there are many adaptations and variations. Kimonos are garments that are worn and they constitute a form of canvas on which art is expressed. With the utilitarian and decorative qualities that is represented, working from the shape of the kimono becomes a happy choice for me. I didn't start with that shape by intention. I have developed my Strappo technique, a combination of painting and printmaking, working with acrylics on clear glass plates and transferring the dry images. Prior to the transfer, to achieve pleasing symmetry, I had decided to place a larger plate with smaller plates butting each side. When I saw that as the shape of a kimono I became increasingly interested in learning more about these garments. The research served to open the range of images that I could call "Kimono". I painted variations derived from the 'T' shape and used it as the basis for what are the abstractions that comprises this current selection of my work. |
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