RSW's Diary Comments

Google Map capture of area where we high-
lighted the peak of Mt. Peru, its town location, proxim-
ity to Manchester and the road RSW could have been.

Woodward did not keep a record of his pastel paintings he called chalk drawings. It is unknown how many there are.

Editor's Note:

Targeting his market, many of Woodward's paintings sent to the annual Southern Vermont Artist Association's exhibit held on the last weekend of August through Labor Day weekend were Vermont themed summer paintings. The market was usually the New Yorkers who summered in Manchester, VT, hence paintings, mostly pastels such as this.

We tried to find pictures of Stratton Mountain pre-resort, and came up completely empty. The resort was not developed until the early-to-mid 1950s and therefore would not appear in Woodward's work.

Southern Vermont Artists, Inc.,
1937 Exhibition Program, pg5

An Essay on the 15 New Discovered Paintings:

The first catalog of Woodward's work was compiled by the Deerfield Academy's American Studies Group during the 1969 to 1970 school year. Dr Mark and Woodward's friend, F. Earl Williams, a Deerfield alum, all contributed to the effort that culminated in an exhibition of his work at the Hilson Gallery on the Deerfield campus.


The resources available to the Deerfield students were mostly word of mouth, a network of people in the area who knew this or that about the whereabouts of paintings, etc. They diligently sought the first-hand testimony of people who knew Woodward well, including Dr. Mark, Williams, Woodward's cousin Florence Haeberle, among others. The group also wrote letters to all of the area galleries, colleges, and museums to gather information on Woodward's work in their collections, or once exhibited in their halls. Their efforts were comprehensive and far-reaching, and while not all recipients responded, most complied. This dedication has allowed us to continue adding to the catalog consistently over the past twenty-two years of the website's existence.

One of the main reasons is that Woodward did not keep records of his pastel paintings, which he called chalk drawings. He could make them quickly, quicker than his oil paintings, and they are also smaller than his most popular oil painting size (25" x 30"). For these reasons, he sold them for a quarter of the price of his smallest oils and frequently gave them out as gifts, especially to those who let him on their property to paint their barns, homes or pastures. We do not know how many there are and could not possibly hazard a guess as to how many pastels there are.

Summer in Manchester, 1937, was also not list-
ed in the original catalog, but is in the SVAA program.

The recent discovery of 15 previously unknown paintings, eight pastels and seven oils, is a surprising revelation. These paintings were found in the physical exhibition programs still in the collection of the artist's estate. The context of this discovery is important. By 1969, the Southern Vermont Artist Association (SVAA) no longer existed. The SVAA left its legacy to the museum it built in Manchester, VT, and the Southern Vermont Art Center has all the records for the SVAA's many exhibits. The students of Deerfield wrote to the art center for their records on Woodward's paintings. The mystery lies in the records they used to supply the studies group.

The art center may have used business records, or perhaps the organization had, over time, compiled a library-like card catalog put together by volunteers. However, whatever source they used, their records were incomplete. This is evident from the exhibit programs. Our advantage is that Woodward always seemed to make it a point to mark his paintings exhibited in the programs, making them easier for us to find. This may be the reason a number of the programs have paintings already in the artist's catalog and those not in the same years. The challenges in cataloging Woodward's work are significant and ongoing.

Under the November Sky, 1952, another pastel
recently discovered to be missing from the Deerfield
catalog, yet is listed in the 1952 exhibit program. It is
our good fortune the owner reached out to us prompt-
ing our investigation into this issue and its result.

So why did the Deerfield students not get this material from Dr. Mark? This is the second reason: he did not know he had it. Dr. Mark had only moved into the Southwick home of the artist 11 years before the Deerfield project. He started a country medical practice by converting the carriage house into an office, taking many of the things stored there, and placing them in the studio or one of the home's many attics. He also started a family and was raising two kids with his wife Barbara, both caretakers of 14 acres of land.

It was not until much later, probably the 1980s, when his kids were off to college and his practice well-established, that he began to go through the boxes and, in some cases, the desk draws in the studio to sort and organize Woodward's things. Twenty years later, after he retires, does he start the website, a monumental task for someone in his mid-seventies. He never thought to verify the American Studies Group's SVAA records against the programs, which only cover from 1935 to 1951, due to the 1934 fire, meaning there could be more paintings from the seven years of missing programs.