Martha’s Vineyard • Nantucket
ARCHITECTURE :: INTERIOR DESIGN
Energy Star Rebates and Tax Credits Still Available Some Restrictions May Apply
COMFORT IN ANY
ROOM, ANY TIME,
Energy-efficient Mitsubishi Electric cooling and heating systems
give you total control over the temperature in any room. Our
easy-to-use controller puts advanced INVERTER-driven compressor
technology at your command, so you can finally have year-round
comfort in rooms where you never thought it would be possible.
The i-see™ Sensor automatically adjusts airflow to eliminate hot
and cold spots, so the temperature is precisely what you set it to
be. Finally, the power to reclaim every room in the house is yours.
CALL N.E.T.R. 781-933-6387
165 New Boston Street, Unit A, Woburn MA
from sales going to The Art Connection.
Enchanted by her work, First Night Boston
commissioned Chandler to paint First Night,
a new work that will grace the 2012 button
that will admit revelers to events at the city’s
annual New Year’s Eve celebration.
Originally from Norfolk, Virginia,
Chandler came to art late in life. After marrying business historian Alfred D. Chandler
Jr. at age 22, she spent a couple of decades as
a housewife raising four children. She began
painting in the mid-1960s near the age of 40
as a response to reading Christian existentialist
philosopher Paul Tillich. His exhortation that
“to truly see, one should learn to make full
use of one’s eyes” prompted Chandler to take
up an artist’s brush. She began rather ignominiously at the Famous Artists School, which
advertised correspondence art courses in the
back of magazines, but worked her way to a
master’s degree in painting from what is now
the Maryland Institute College of Art.
That was in 1967, and the art of the
moment consisted of the big bold abstracts
of Franz Kline, the aggressive pop images of
Roy Lichtenstein, the minimalist sculpture of
Donald Judd, and the suggestive post-mini-malism of Eva Hesse. Chandler, on the other
hand, was painting dreamy, ethereal, and
unapologetically spiritual paintings in a manner best compared to German-Swiss painter
Paul Klee. Her art was not easy to classify, and
her art heroes heralded from an earlier time —
Miro, Kandinsky, Matisse, and children’s book
author and illustrator Ludwig Bemelmans.
Her point of view was earnest rather than
ironic, personal rather than monumental. Her
paintings in that period carried endearingly
inspirational titles such as Chin Up (1970),
Woman Emerging (1974), and Innovative
Growth (1974). Though Chandler saw herself
as a cut-and-dried figurative painter, it was not
figuration of the classical variety. “If I wanted
to make people purple, I made them purple.
And people didn’t always like to be odd colors,” she says.
Like all artists, she experienced rejection. She recalls a trip to New York in which
she sought to interest six Manhattan galleries
in her work. Since Chandler was older and
her figurative work often crossed the line into
illustration, she was not well received. The
experience inspired her to paint a series of
grim hallucinatory works titled A Week in New