Ken Addington, 1946-2019
Ken was from Yazoo City, Miss., and he was always beyond it. Adoring parents allowed him to become the artist he was. Later, when other artists would rhapsodize about his work in hallowed whispers, his mother would quietly nod. Teachers enhanced his work, but the fierce talent came with him and propelled him. Stunning were his portraits, even when he drew 15-minute numbers in Jackson Square in New Orleans his youth. Always recognizable, his images of people brought a depth of personality and vulnerability that floored viewers. His landscapes were gorgeous with a freedom and wildness that was palpable. His abstracts soothed, haunted and thrilled, evidence of a concerted effort to go beyond. Wickedly smart, sensitive, comfortably attractive, Ken soared as an artist—on a level all his own.
Gary Eagan, 1943-2011
Elegant and refined are not the common adjectives for potters, but Gary was. Polished, he had art degrees from Missouri and Kansas schools, including a Master’s. He knew the chemical composition of glazes and how to push them. Technique, he produced thin, incredible pieces, including lamps and wedding cakes, plates and teapots, roses and tree trunks. Expansive, his apprentices became accomplished here and far. Sophisticated, he travelled the world with ease. A smart, wry and compact man, his knowledge was huge. Fortunately, for his friends and Eureka Springs, his heart was as well.
Fred Swedlun, 1877-1959
Originally from Kansas, Fred studied and worked as an artist in Chicago. For some years he was known as Ernest Fredericks, an inversion of his given names, to avoid the prejudice towards Swedes when he was young. Early in the 20th century he found Eureka Springs as a place for inspiration and to make a home. One of his beautiful Arkansas landscapes was exhibited at the Chicago Art Institute in 1940. For many years he and his son, Glenn, taught art in Eureka and sold paintings at their gallery on Spring Street.
Max Elbo, 1949-2017
Most say that Max was the best graphic artist ever, for he continued, time and again, to amaze. One could say he was great, period. For, his intricate, signature style was detailed and astonishing. He captured the moment and mores in his spectacular posters. He embraced the heart of his subjects in his sublime portraits. And he smiled at the world in his dynamic, lavish logos. Picturing Max, a tall, lanky image of Ichabod Crane might come to mind, for he was that distinctive. To say he was soft-spoken is an understatement. To know him was to meet gentle. And with dots, lines or strokes, his exquisite pen and inks revealed magic on the page that continues to delight.
Mary Sims, 1940-2004
Not as big as a minute, Mary’s personality and paintings were huge in beauty, technique and wit. Nationally revered, she painted daily, achieving greatness and whimsy. Her still life paintings combined disparate items in a bizarre but winning fashion. Her portraits brought muscles and poignancy together in surprising ways. Her life was always a creative adventure, on the canvas or the road, arranging a tablecloth or playing musical chairs. As for style, she kept defining it.
Elsa Freund, 1912-2001
She was classic from every angle. Elsie’s tied-up hair and gorgeous cheekbones, coupled with a genteel manner, made for a formidable presence anytime and anywhere for decades. She even moved deliberately, as though each gesture was measured by grace. Kind and soft-spoken, her art was dynamite, be it in watercolor or jewelry. The luscious watercolors were expressive, tackling complex horizons or subjects with understanding. Her jewelry was mid-century spectacular. Ever timeless and serene, her art is—and she was.
William Farnham, 1874-1960
He was one of Eureka’s earlier painters. He was a poor man, but driven to create art. He lived at Beaver and did many landscapes of that area. His art can be found on canvas, board or cardboard.
By Golly/Ernest Schilling, 1878-1975
A true early Eureka character, he was a make-do man who did many things to earn a living here. Several of his signs still exist including the one on the Palace Bath House. He gave goat cart rides to tourists down to Black Bass Lake and did drawings of visitors. One of his advertising signs was for “Your Picture drawn from life by nature’s own artist.”
Miriam McKinnie, 1906-1987
A WPA mural artist who had studied in Minneapolis and Kansas City, Miriam’s early work exhibited the influence of Thomas Hart Benton’s Regionalism. Over the years her work evolved, becoming increasingly abstract with bright, vivid coloration. Her broad, round-faced women, surrounded by mid-century elements, became signature elements in many pieces. Miriam was a hearty, down-to-earth and kind woman who enjoyed the camaraderie of other artists. Notably and importantly, she encouraged younger artists and even gallery owners.
Other artists whose work is planned to be represented at the museum include Janet Alexander, Lynn Williams, Helen Deleuw, Ely DeVescovi, Hank Kaminsky, Don Kennett, Tommy Thomas, Read Larson, Eleanor Lux, Betty Maffei, Hal Mallett, Jack Miller, Susan Morrison, John Willer, Mary Springer, Zeek Taylor, Denise Ryan, Carol Saari, Mary Sims, John Stalling, Charlie Stehm, Susan Storch, Julie Kahn Valentine, Julie Traxler and “about 100 more if possible!”