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  • Open a larger version of the following image in a popup: Thomas Hart Benton, Flight of the Thielens, 1938

    Thomas Hart Benton 1889-1975

    Flight of the Thielens, 1938
    Oil on canvas mounted on panel
    25⅞ x 35⅞ inches
    65.7 x 91.1 cm
    Signed at lower right: Benton; inscribed with the title on verso: "FLIGHT OF THE THIELENS" / Martha's Vineyard / Hurricane of '38
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    Flight of the Thielens, 1938 belongs to a small series of works Thomas Hart Benton created depicting the terrifying circumstances of a catastrophic strength hurricane that hit Martha's Vineyard in...
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    Flight of the Thielens, 1938 belongs to a small series of works Thomas Hart Benton created depicting the terrifying circumstances of a catastrophic strength hurricane that hit Martha's Vineyard in 1938. With little advanced warning, the hurricane dubbed the 'Long Island Express' caused widespread damage to the island. The present large-scale oil painting depicts Benton's neighbors fleeing their homes, battling the swirling sea. Benton's narrative of this moment depicts Benedict Thielen, who was a well-regarded writer for the New Yorker, his wife, the artist Virginia Berresford, and their maid Lucy. When the storm hit the island, homes were pelted with flying rocks and debris, and a large wave associated with storm surge washed over the barrier beach on which the Thielens and Bentons lived and washed into Stonewall Pond. The Thielen's maid, Lucy, did not know how to swim and was lost in the storm.


    In 1938, Benton was at the peak of his artistic career and among the most famous artists in America. Flight of the Thielens became a favored composition of the artist and an acclaimed subject, as it was selected to represent the best of American art through participation in a loan program to the American Ambassador to Canada's residence in Ottawa in 1992. Well-known art historian Henry Adams LaFarge wrote: "The Regionalists movement had, of course, many offshoots, but rarely was it capable of reaching heights of drama and passion that are found in this painting… The abstract structure in its swirling design harks back, like many Benton paintings, to the dynamic tension and chiaroscuro of sixteenth-century Mannerism." [1]


    [1] Henry Adams LaFarge, cited in Polly Burroughs, Thomas Hart Benton: A Portrait, Garden City, New York: Doubleday, 1981



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    Provenance

    The artist; to
    Rita P. Benton (wife of the artist); to
    Thomas Hart and Rita P. Benton Testamentary Trust, Kansas City, Missouri, no. 38;
    Private collection, Boston, Massachusetts

    Exhibitions

    Spiva Art Center, Missouri Southern State College, Joplin, Missouri, Thomas Hart Benton: A Personal Commemorative, March 24-April 27, 1973, p. 78, illus. 
    Spencer Museum of Art, University of Kansas, Lawrence, Kansas, organized by the Mid-America Arts Alliance; Department of Parks and Recreation, St. Louis, Missouri; Fort Hays State University, Hays, Kansas; Sheldon Memorial Art Gallery, Lincoln, Nebraska; Oklahoma Art Center, Oklahoma City; Wichita Art Center, Kansas; Spiva Art Center, Joplin, Missouri; Charles H. MacNider Museum, Mason City, Iowa; David and Alfred Smart Museum of Art, University of Chicago, Illinois; The Arkansas Art Center, Little Rock, Arkansas; Springfield Art Museum, Missouri; Huntsville Museum of Art, Alabama; Tennessee State Museum, Nashville, Tennessee; Minnesota Museum of Art, St. Paul, Minnesota, Benton's Bentons: Selections from The Thomas Hart Benton and Rita P. Benton Trusts, July 13, 1980-June 26, 1983, no. 15 illus.
    The United States Embassy Residence, Ottawa, Canada, extended loan, by July 1992
    Museo d'Arte Moderna, Lugano, Switzerland, Thomas Hart Benton, September 5-November 15, 1992, no. 49, illus. p. 165
    Morris Museum of Art, Augusta, Georgia; Nevada Museum of Art, Reno, Nevada; University Art Museum, University of Southwest Louisiana, Lafayette, Louisiana; Minnesota Museum of American Art, St. Paul, Minnesota; Louisiana Arts and Science Center, Baton Rouge, Louisiana; Museum of Art Tallahassee (now The Mary Brogan Museum of Art and Science), Florida; Lauren Rogers Museum of Art, Laurel, Mississippi; Springfield Museums, Massachusetts; York College Museum of Art, Pennsylvania; Frye Art Museum, Seattle, Washington; Knoxville Museum of Art, Tennessee; Gilcrease Museum, Tulsa, Oklahoma; Fort Wayne Museum of Art, Indiana, On the Road with Thomas Hart Benton: Images of a Changing America, February 8, 1998-March 18, 2001

    Literature

    Polly Burroughs, Thomas Hart Benton: A Portrait, Garden City, New York: Doubleday, 1981, pp. 131-34
    Elizabeth Broun, Douglas Hyland, and Marilyn Stokstad, Benton's Bentons: Selections from the Thomas Hart Benton and Rita P. Benton Trusts, Lawrence, Kansas: The Helen Foresman Spencer Museum of Art, 1980, cat. no. 15, p. 53, pl. V, illus. in color
    Stephen M.L. Aronson, "Ambassador and Mrs. Edward N. Ney in Canada," Architectural Digest, July 1992, vol. 49, p. 133, illus. in color p. 130
    Rudy Chiappini, Thomas Hart Benton, Lugano, Switzerland: Museo d'Arte Moderna, 1992, p. 165, illus.
    J. Richard Gruber, Thomas Hart Benton and the American South, Augusta, Georgia: Morris Museum of Art, 1998, p. 59, Trust no. 38
    Henry Adams, "Thomas Hart Benton and Martha's Vineyard," in Benton on the Vineyard, Owen Gallery: New York, 2008, p. 20, fig. 4 illus. in color
    Justin Wolff, Thomas Hart Benton: A Life, New York: Macmillan, 2012, p. 325
    Henry Adams, Thomas Hart Benton: Discoveries and Interpretations, Columbia: University of Missouri Press, 2015, p. 84
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