Category Archives: Art

Time

My husband tells a joke about a farmer and a pig. I don’t really get the joke, but I like the punch line – “What’s time to a pig?”

What’s time to any of us? I thought about this recently when the new Apple watch was introduced. It looks very complex and expensive, but I had a similar reaction when the iphone came out, and now I can hardly live without my little magic device.

A digital watch or digital clock lacks the rhythm of big and little hands going around and around and pointing to the hours and minutes. I wear a $40 Timex watch that suits me. I only need to glance at it – not even read the numbers – to tell where in the day I am. My first watch was gold (probably not real gold), and I wound it every night before I went to bed. One of my mother’s friends told me never to wear it when I slept because if I did, lint would get into the workings and it would stop running. Now, I wear my Timex day and night and it only stops when the battery dies. My grandson Henry was looking for something to draw as a gift for his mother a year or so ago and I offered my watch. I’m not sure why he put the double watchbands on it, but I think it looks very cool.

“Henry’s Watch Drawing,” Henry Thomas Kennedy, pencil, 2013

I’m more aware of the dimensions of time and clocks when I visit my brother, because he’s a horologist. He collects and sells and repairs old clocks. His house and his workshop are alive with the ticking and tocking and chiming of hundreds of early American timepieces. He is doctor to many, many clocks. Some are as small as a box of Cream of Wheat, some as large as the Tower Clock at Yale University. He’s on intimate terms with their insides. I admire his expertise and his dedication to keeping the art of time alive. You can read more about him here.

Before electricity and batteries, many houses had some kind of clock. Tall clocks, Grandfather clocks, Mantel clocks, regulator clocks – all were made like works of art. My grandparents’ clock sat on the mantelpiece in the dining room. Keeping it running involved winding it regularly. I can’t remember whether or not it chimed. I think it did. But I know it ticked, and I know it was old. It gave an organic feeling to the house, and even when I got so used to it that I didn’t hear it anymore, it felt odd when it stopped – as though the heart of the house had stopped beating.

My grandparents’ mantel clock

The old clocks were not very accurate and would have to be periodically reset using the readings from a sundial. Most time was local time – dependent upon the position of the sun. When the family clock was the only timepiece in the house, its location and its appearance became as important as the time it kept. If you had to come downstairs to look at the clock in the parlor, you got clues to the time of day by glancing out windows, hearing other activity in the house, and feeling the temperature in the air. And many clocks also provided information about the phases of the moon, the days of the week, and the whimsy of the clock face’s painter.

Antique clock face

And there were tall case clocks with music boxes inside that could play as many as six different songs. Some of the more popular songs that marked the 12:00, 3:00, 6:00 and 9:00 hours were:

The Raptur
Maid of the Mill
The Cuckoo’s Nest
Banks of the Dee
Handel’s Minuet
Air by Handel

But my favorite is “Over the Water to Charlie.” Set to the lyrics of a Robert Burns poem about Bonny Prince Charles, this song has a lovely melody. When I hear it – maybe because my father was a Charlie – I picture my mother standing on the banks of Muddy River waiting for my father to come around the corner and cross the water to Whirlwind Hill.

On Wednesday: Outbuildings #2 – The Pig Pen

The Tree

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“Tree,” Carol Crump Bryner, woodcut

In October 2001, I traveled east to visit my parents. The trip I’d always taken for granted had, after 9/11, come to seem like a miracle. I got on the plane in Anchorage, and eventually got off in Hartford, but it wasn’t until we reached the reservoir and I could see the lights on Whirlwind Hill that I felt the enormous joy and relief of being back home.

After that visit I sent an article to a feature at the Meriden Record. The piece was printed in January 2002, and I’ll reprint it here. The newspaper titled it “And the Tree Lives On.”

“In early October, I made the long trip from my home in Anchorage, Alaska to my parents’ house in Wallingford, Connecticut. Although I haven’t lived in East Wallingford since 1967, I still feel most truly and securely at home there.

The farmland, which has been in our family since before the Revolutionary War, has stayed open and undeveloped. I feel lucky to be able to visit such a timeless treasure and grateful to my relatives for keeping it that way year after year. Each time I come home I walk down the lane and up the hill to sit under my favorite tree. It’s silent there and beautiful, and I’m cheered to see the tree still standing in glorious isolation.

On one of my visits, my aunt told me that when my uncle was a young boy helping his father on the farm, he asked to have a tree planted here. During the long days of summer work he wanted to have a shady spot to put the water jug. Since then the fields have been almost continuously farmed. It must be a nuisance to mow, plant, and harvest around the tree, especially now that water jugs stay cool on their own. The fact that the tree has endured comforted me as I sat under it on October 8, trying to find balance in increasingly unsettling times.

As an artist, I collect images that connect me to the people and places I love. This year when I visited, the tree was still dressed in fall leaves, but in a few months it will look like this photo I took in March, 1972 – an example of the stark, powerful New England landscape I miss when I’m living so far way from home.” – Carol Crump Bryner, October 2001

The Tree, 1972

On Monday: Time

The Parlor

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Gone are the days when guests were greeted at the front door and led into the parlor. “ ‘Will you walk into my parlor?’ said the spider to the fly.” The old poem illustrates the formality of a place where visitors were, in a way, held captive. Because the parlor was where first impressions were made, furniture had to be of good quality. Family portraits and sconces of light adorned the papered walls. Company sat in upright chairs and paid visits. The parlor was a buffer between the outside and inside life of the house.

My ancestors had their picture taken in a parlor that is probably not the parlor at the farm. They appear to be at a wedding. You can see the bride reflected in the mirror. It may have been my grandmother Agnes and grandfather Ellsworth’s wedding or maybe the wedding of Alice Hall to Harry Dickerman. The seated family members wear their best clothes. They look uncomfortable. But I’ve always loved the ghostly look of this parlor photo.

From left: Unidentified relative, William E. Hall, Lydia Jane Hall, Lydia Reed Davidson Hart, Edgar Hall

The farm parlor I remember was a nearly square room with three windows and three doors. It faced south, and provided warmth, light, and sunshine. Cherished paintings and portraits hung on the wallpaper. It was sparsely furnished. A piano took up most of the west wall, and my grandmother’s planters most of the south wall. In one corner an antique marble-topped table held a basket of old photographs. My grandmother often sent me home from my visits with a photo or two from that basket. I’ve used many of them here in my blog posts.

In my mother’s day the parlor had taken on the role of a multi-purpose room. The family gathered around the piano after Thanksgiving dinner to sing songs accompanied on piano by my Aunt Hattie. Toys sometimes littered the floor. Because it was the warmest room in the house, (shutting all three doors kept in the heat from the cast iron radiator and the warmth of the sun shining through the windows) my great-grandmother sat in the parlor and watched her grandchildren play as chilling drafts of air cooled other rooms.

In 1930, when my mother was twelve, her three-year-old brother Luther died of pneumonia, and his little body lay in a coffin in the parlor during the days of mourning. Friends and family and neighbors came in and out through the front door to say goodbye to the child.

But as life went on and the days grew brighter for my grandparents and mother and aunts and uncles, the room again became a warm and cheerful place. The parlor hosted card games and club meetings. In 1932 the local newspaper ran this photograph of my mother and other members of the “Capable Cooks 4-H Club” doing a demonstration called “Many Ways with Carrots.” I wish I’d been there in the parlor to see that lesson. I would like to have known exactly how many ways there are with carrots.

“Many Ways with Carrots,” cooking demonstration, Janet Hall standing on right, 1932

My mother, standing on the right, looks tidy and professional. Because I was a 4-H member myself, I know that 4-H cooking demonstrations have to be detailed and exact. My mother cooked that way for the rest of her life. She measured her ingredients closely, cut her cucumber slices to a paper thinness, soaked cut onions in ice water, and greased and flowered her baking pans so thoroughly that not a single crumb would be left behind after the cake was turned out onto the plate. She learned her lessons well, and was always a “capable cook.”

In my dining room in Alaska, I have a Christmas cactus grown from a cutting of my grandmother’s original plant. In this photo my mother stands in front of one of the parlor windows. Through the window you can see the plants my grandmother Agnes grew – geraniums, Christmas cactus, amaryllis, and begonias – and also, reflected in the glass, the silhouette of the barn across the street with its rooftop cupola.

Janet and the parlor window, 1942

On Wednesday: The Tree

The Room With Nine Doors

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I was proud of my grandparents’ living room. It seemed huge, and it had nine doors. How could I not brag about a room with so many ways in and so many ways out?

For the first year of my life the living room was where my extended family rocked and cuddled and cared for me. As I grew older, my brother and cousins joined me there to play hide-and-seek, watch television, and listen to the aunts and uncles chat over Sunday afternoon tea.

Me in my playpen near the doors to back staircase and back bedroom

My grandmother let my mother and her siblings and friends push aside the carpet for roller skating, parties, and dancing. This was only possible because in the 1920’s my grandparents tore down walls and turned what had been two or three rooms into this one large space.

First Floor – Hall Farmhouse (after 1927), Carol Crump Bryner

My great-grandmother wrote in her journals about the parlor, the sitting room, the front room, the west room and the downstairs “chambers.” She never mentioned a living room. I don’t know what the old footprint of the rooms was, but there was originally a large central chimney with a fireplace on each side, one for the parlor and one for the sitting room. These fireplaces were removed during the expansion and a new chimney and fireplace built at the west end.

Fireplace and window, 1951

The two windows at the west end of the room that looked out onto Muddy River and the orchards were the inspiration for my “Window” series of monoprints, and the memory of the many doors in the living room fueled my ongoing fascination with views into and out of rooms. A door at my grandma and grandpa Crump’s house in downtown Wallingford is the subject of a 1990 painting.

"Door to Grandma Crump's Sleeping Porch," Carol Crump Bryner, oil on canvas, 1990

“Door to Grandma and Grandpa Crump’s Sleeping Porch,” Carol Crump Bryner, oil on canvas, 1990

Here’s a list of the nine doors in the farmhouse living room:

The door into the dining room.
The door behind the desk (an unused door into the bathroom.)
The door to the back staircase.
The door to the back bedroom
The door to the side yard.
The west door to the parlor
The east door to the parlor.
The front hallway door
The door to the closet under the stairs

Some doors, like the door to the bathroom, remained closed. Others, like the door into the dining room, stayed open. But with so many doors there was always the sense of life going on inside and out and the feeling of endless places to explore. In a room whose function was never strictly defined, there was always something to do. The possibilities felt endless.

“Interior,” (the farmhouse living room), Carol Crump Bryner, linocut, 1976

On Wednesday: Baked Beans

Money and Apples

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I always liked the idea that earning money on the farm was a last resort – that a farm should be able to sustain itself without cash. But after reading my great-grandfather William E. Hall’s journals, I can see he thought often about making, having, and spending money.

He filled the back pages of his diaries with columns of figures and notes about what he spent and what he earned. The last page of his 1861 journal looks like a daydream about dollars.

Page from journal of William E. Hall, 1861

His notes record that he sold a load of wood for $10 and spent $10 on his new teeth. His 1864 diary cost 25 cents, a postage stamp 6 cents, and a telegraph 30 cents. The sale of a cow earned $12.50 and a load of hay $28.75. There was the purchase of the mysterious “dog candy” for 45 cents. Some cotton cloth cost $16.20, and a new buggy relieved him of a whopping $45.00.

The record of farm goods and produce he sold for cash includes cows, oxen, hogs, horses, hay, buckwheat, wood, milk, butter, eggs, hard cider (my great-grandfather also had a still), peaches, and apples. The list of purchased items is much, much longer.

“Modern Apple,” Carol Crump Bryner, ipad painting

For years apples were a major source of revenue because, unlike peaches, they could be stored in a root cellar and sold throughout the winter.

Monday, October 5, 1914 – “Men busy picking apples, selling them. The trees are many of them loaded. Not very large, but seem to be good and sound.” – Lydia Jane Hall

Wednesday, October 7, 1914 – “Ellsworth sold his apples for 35 cents a bushel, to be carried off by the seventh of December.” – Lydia Jane Hall

My great-grandfather William’s 1873 diary includes names of apples he may have grown or thought about growing. (There are about thirty varieties on his list, but I’ve had to leave out some and guess at others because his writing is hard to decipher.)

Pown Sweets
Peck’s Pleasants
Stripe Pippins
Gilliflower
Maiden Blush
Wine Apple
New Town Pippin
Bell Flower
Roxbury Russets
Fair Maine
English Sweets
Hall’s Seedlings
James Linds
Citron Apples
Lord Thorntons
Baxter Greenings
Rome Apple
Black Pearmain
Fall Pippins
Roderick Greening
Red Stripe
Balmunds
Ruck Apples

I have no idea what kind of apples my mother is eating in this photo, or whether they were grown on the farm. In 1943 when my dad took this portrait of my mom in the fields below the farmhouse, there were probably still apple trees around, but I have a feeling the apples in the photo came from Young’s Apple Orchard, which was at the top of Whirlwind Hill. The orchard was still in business when I started living in Alaska in 1969, and I remember going there to buy apples one fall when I was visiting my parents. Mr. Young packed them up for me and shipped them all the way to the 49^th State. What would my great-grandfather have thought of that!

Janet Hall Crump, 1943

On Monday: The Room with Nine Doors

Painters in the Family

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I’ve been wondering lately about the force that nudges a person onto their life path. Is it heredity? Is it serendipity? Is it a desire to be like someone they admire? It’s probably a bit of everything, but, yet, I don’t think it’s an accident that there is, in my family, a line of artist/painters descended from the Harts of Durham, Connecticut. There must be something genetic in the desire to not only observe the world but to record those observations.

My great-grandmother, Lydia Jane Hart Hall, the woman whose journals I quote frequently in this blog, introduced the Hart blood into the Hall family. The Harts were a prominent and long-time Durham family who lived for four generations in the little homestead memorialized in this picture. The Hart family will be the subject of a future post, but today I’m concentrating on Mary E. Hart and the other women in our family who admired and emulated her.

“Original Hart Homestead,” Melissa Hall, copy of a painting by Mary E. Hart

I’ve written about Mary E. Hart before in “Violets,” and “Violets, An Addendum.” She lived the prime of her life during the Civil War years – she was born in 1836 and died in 1899 – but her paintings radiate peace. In her early life she’d been a teacher but later on became a prominent artist in the Durham area. She was especially famous for her depictions of violets. Her touch with paint was as delicate when she used oil as it was when she painted with watercolor.

“Pinks and Violets,” Mary E. Hart, watercolor, around 1870

“Pansies,” (detail), Mary E. Hart, oil on canvas, around 1870

Melissa Hall, my mother’s much-older cousin, was born around 1896, and exposed early on to Mary Hart’s paintings. She, like Mary, never married. In this photo from a 1904 Thanksgiving at the farm, she sits to the left of her two sisters, Alice and Gertrude.

“Melissa Hall (left), Alice Hall (top), Gertrude Hall (right front)

Cousin Melissa made copies of many of Mary’s paintings, (the picture of the Hart Homestead is a copy made by her of a Mary Hart painting), but she had a style of her own. To the end of her life she made and sent me and other family members Christmas cards, Easter cards, birthday cards, and postcards.

My mother, Janet Hall Crump, began painting early, influenced not only by Mary Hart but also by her cousin Melissa. She especially loved painting the flowers she picked from her garden. Here she’s set up her pansies – maybe to be painted – next to Mary Hart’s painting.

Janet’s pansies with Mary’s painting

And Janet, too, liked to make cards and decorations with her brush and paint. This must have been a place card for a dinner.

“Place Card,” Janet Hall Crump

I grew up surrounded by the paintings done by these three women. There’s no denying their influence on the path I chose. Paintings by Mary, Melissa, and Janet will surface again in my blog posts. Here’s an early still life done by my mother when she was at Boston University. Watercolor was the perfect medium for her. She was a woman who “lived in the moment,” and the immediacy of watercolor suited her perfectly.

“Still Life with Yellow Cup,” Janet Hall Crump, watercolor, 1938

Sixty years later I did my own painting of a yellow cup.

“Morning Light,” Carol Crump Bryner, oil on canvas, 1998

I can’t resist closing with this example of how the artistic influence travels down the family tree. My daughter did this painting of flowers when she was nine years old. It made me smile today when I took it down from the wall to scan it and noticed that she had signed it Mara “Crump.”

“Flowers,” Mara Bryner, acrylic, 1986

On Monday: Washday

The Muddy River Schoolhouse

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At the foot of Whirlwind Hill, where the MacKenzie reservoir now beckons ducks, geese, swans, turtles, and hopeful fishermen and women, there was once a school. In 1810 the Muddy River Schoolhouse was built in the Wallingford, Connecticut School District No. 8, and the one-room building sat on this same spot until 1932 when plans were made to dig the new reservoir.

MacKenzie Reservoir, spring, 2014

For a hundred and twenty-two years this one-room school saw Wallingford schoolchildren come and go. As many as thirty students at a time from kindergarten to sixth grade spent their days in the company of one hard-working teacher, learning to read and write and cope with all the hardships and joys of wooden desks, chalkboards, and a single stove to provide heat in the winter. For at least a year my mother was one of those students. In a 1923 photo of the school, teacher, and students, she’s the sixth child from the left, her dark hair framed by the school doorway.

Muddy River Schoolhouse with teacher and students around 1923, Janet Hall sixth child from the left

I don’t know for sure how many of my ancestors started their educations there, but in 1861 or 1862 my great-grandmother Lydia Jane Hart came over the Totoket Mountains from Durham, Connecticut to be the teacher. Because the Hall farmland was on the uphill slope above Muddy River, I imagine my great-grandparents meeting for the first time somewhere on Whirlwind Hill. William and Lydia married in 1863, ending Lydia’s career as a teacher but beginning another generation of Muddy River schoolchildren.

In a 1998 Meriden Record article about the school, my mother, Janet Hall Crump, says, “I was pretty young, but I remember the fun things like Christmas time when we would decorate and all the parents would come,” she said. “I’m so glad I had that one year. It’s a rather interesting experience when you’re in a one-room schoolhouse. I am so glad I had that experience.”

But the year at the school that my mother remembers was a short-lived one. In January 1924 my great-grandmother Lydia recorded news of Janet and school.

Friday, January 4, 1924 – “A nice bright morning. Snow gone – no more sliding until more snow and ice come. Agnes has taken the children to school. Janet is at home. She has taken a notion she doesn’t want to go any more. Her mother is going to let her stay home until Spring.” – Lydia Jane Hall

Monday, January 14, 1924 – “Nice bright morning. Quite spring-like, tho we do not hear the birds. Children at school. Janet at home, cutting paper, etc. singing by herself.” – Lydia Jane Hall

Thursday, March 6, 1924 – “A very nice morning. Agnes taking the children to school. Janet outside with her daddy whom she likes to talk with, in the house playing with her dolls, coming with books for Grandma to read to her.” – Lydia Jane Hall

Wednesday, March 19, 1924 – “Nice day – warmer, more like spring. The children have been to school. Agnes has gone to bring them home. Janet is at home this winter. Goes to school next fall. She is as quick to learn as the others. She likes her daddy and likes to be out of doors with him.” – Lydia Jane Hall

Janet Hall with doll, around 1924

It must have been hard for my grandmother Agnes, who made such effort to get her children to school, dance lessons, music lessons, etc., to just let my mom stay at home for this half year. But it was such an important time for Janet. She never forgot the joy of being the “only child” for a few hours each day, of having her daddy all to herself, and of being a part of the daily farm routine. Later on, as a mother herself, she occasionally let my brother and me stay home from school when important things happened on the farm. My brother remembers being allowed to take “sick” days when heavy equipment was working nearby so he could watch the machines in action. And I often begged to stay home so I could go to the farm kitchen to watch my grandmother do the washing.

My mother did go back to school, but not to this little building at the foot of the hill. In the fall she joined her brother and sister at the school in town. She was a good student, and she graduated from Lyman Hall High School. In this high school photo I can still see the little girl who liked to follow her daddy around the farm.

Janet Hall’s High School photo

In 1932, instead of tearing the school down to make way for the dredging of the reservoir, the town of Wallingford gave it to Oscar Williams, a farmer living on nearby Williams Road. Oscar hired Fred Audisio (who was paid in eggs since Oscar Williams raised chickens) to put a chain on the building and drag it up Williams Road to his farm where it sat mostly intact until 1998. It was then donated to the Wallingford Historic Preservation Trust and disassembled for storage. It was supposed to be moved and reassembled on another site, but as far as I know, that has never happened. The Muddy River Schoolhouse may still be in pieces in a barn on Williams Road. It’s another mystery for me to solve, and if I find out anything, I’ll let you know.

The earliest depiction I’ve seen of the schoolhouse is a watercolor by Mary E. Hart (or possibly a copy of her painting made by Melissa Hall) that hangs in my parents’ dining room on Whirlwind Hill. Until a few months ago I thought this was a painting of the Hart Homestead in Durham, but my brother told me its subject is the Muddy River Schoolhouse. I was amazed that I’d looked at this picture for so long without really knowing what it was. For me this discovery was like having a ghost step out of the past and say “howdy!” In the painting, done around 1860 or 1870, the school still has white clapboards. Next to the schoolhouse is the bridge over the river at the bottom of Whirlwind Hill. In the background, on the far side of Muddy River, the painter has brushed in the lush spring blooms of the Hall orchards.

“Muddy River Schoolhouse,” Mary E. Hart, watercolor

On Wednesday: Painters in our Family

September Window

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September is a bittersweet month. Summer wanes, the sun casts longer shadows, and the foliage seems to look tired as it stores energy for its fall extravaganza. Lydia refers to this time of year as the start of the melancholy days – a time for going inside.

“September Window,” Carol Crump Bryner, monoprint

September 16, 1913 – “A nice cool day. Am sorry to have the melancholy days come, when all shut-ins have to be housed. ‘I love the good old summer time.’ Still getting potatoes. Ellsworth went down to Delevan Ives’ place to a corn roast. The Oyster Club.” – Lydia Jane Hall

September 28, 1914 – “A very nice cool fall day – Edgar’s [her oldest child’s] birthday, very much the same kind of a day – fifty years old – it doesn’t seem possible that so many years have flown by since then. So they go and children & grandchildren and great-grandchildren come to us – all we hope to be useful men and women.” – Lydia Jane Hall

September 26, 1921 – “Nice day. Men busy gathering apples. Agnes took Lydia to school – all had a ride. Mr. Biggs [my great-grandfather] fixing the flowers, tying up the dahlias, helping Ellsworth with the apples. All busy baking, getting meals, etc. Many hands make light work! All well and happy, seemingly.” – Lydia Jane Hall

See also – April, May, June, July, August Windows

On Monday – The Muddy River Schoolhouse

The Porch

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In a recent post I admitted to having cottage envy. I also have porch envy. I gather images of porches to paint – porches with rocking chairs, railings, sunshine, shadows, and welcoming front doors.

“Green Rocking Chairs,” Carol Crump Bryner, oil on canvas, 2009

“White Chair in South Light,” Carol Crump Bryner, oil on canvas, 2009

The house I grew up in – the little red house on East Center Street in Wallingford, Connecticut – had more of a “stoop” than a porch, and there’s nothing wrong with a stoop. I’m a diehard stoop-sitter, and enjoy being perched on the front steps watching the world go by and feeling the sun on my face.

But the porch on the farmhouse was similar to what Alaskans call an “Arctic Entry.” It was an extra layer of protection between inside and outside.

Until the late 1920’s the farmhouse was porch-less.

Hall Farmhouse around 1910

And then the twins were born. My practical grandmother, who by 1927 had five children and an endless stream of dogs and cats and chickens and visitors, must have decided she needed an extra room. She had a cement floor poured and a large screened porch built to wrap around the outside of the kitchen, dining room, and living room walls.

Hall Farmhouse around 1945

I never knew the farmhouse without this big room. The porch had none of the romance one associates with a New England porch – no rocking chairs, no steps, no carefully turned railings or pillars. The floor was painted green and covered with an assortment of chairs, toys, tools, boots, coats, dog dishes, and flowerpots. At one end was an old davenport draped with a mangy black horsehide. But at the other end was the best part of the porch. Just outside the kitchen door hung a big wooden slat swing, also painted green. My grandparents and great-grandfather sat on it in summer to husk corn, swat flies, and stay cool. It was the perfect spot for greeting or saying goodbye to visitors. When the house burned in 1971, someone rescued the swing. For many years it lived with one of my cousins, but now it’s back on Whirlwind Hill, waiting to be restored and hung in a new place for sitting, swinging, and remembering.

“Porch Swing,” Carol Crump Bryner, gouache, 2013

On Wednesday: Outbuildings #1 – The Silo

Corn

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“An Ear of Corn,” Carol Crump Bryner, pen and colored pencil, 2014

My grandfather, a man of few words, looked up from the bags of corn he was husking as he sat on the porch swing, and muttered, “Corn, corn, corn.”

It does start to get a little old. After the excitement of the first ears of summer and the exclamations about the sweetness of this batch compared to that batch, the abundance of late summer corn can be overwhelming, especially on a farm.

One of the ways my family varied the corn diet was to make succotash. I’ve never really understood succotash. Why ruin a perfectly good bowl of corn by adding beans to it? But my mother and her family loved succotash, and my grandmother made it frequently. Her succotash was very plain – lima beans, corn, salt, pepper, and butter. The secret, my mother told me, was to scrape the “milk” from the cob after cutting off the kernels.

Saturday, August 6, 1921 – “Nice day. Men working at hay at Peterland. Corn is coming & potatoes are looking nice on the hill lot. Busy times for everyone now, gathering in the products of the farms. Lilla our good neighbor sent us some sweet corn of which Agnes made us some nice succotash. Ellsworth’s corn is nearly ready to pick for eating.” – Lydia Jane Hall

Tuesday, August 16, 1921 – “Agnes and Lydia went over to Durham, took over some succotash and a nice apple pie, some potatoes & corn – two loaves of bread & a cake for which they were very thankful.” – Lydia Jane Hall

“A Bowl of Succotash,” Carol Crump Bryner, 1992

Everyone has theories about corn – how long to cook it (my brother says to boil it until the steam smells like corn, my husband claims 12 minutes to be ideal) – how to store it – how to butter it – and how to eat it (I employ the typewriter carriage method starting at one end and eating three rows at time, then pushing the carriage back to the beginning and starting over – my husband eats it round and round like the gears of a clock) – and how to make it last through the winter.

My parents had strong opinions about the handling of fresh sweet corn. Dinner conversation in summer was punctuated by pronouncements about the freshness, sweetness, and toughness/tenderness of the corn. My dad subscribed to the theory that husking should be done immediately. He claimed that sweetness seeped from the corn into the husks if you left them on too long. One summer, when I was visiting my parents, my cousin Sue and I went to Lyman Orchards where she bought a bagful of corn to take home to grill (in the husks) for dinner. After storing it in our refrigerator to stay cool until she drove home, Sue and I sat outside with my mother drinking tea and having an afternoon chat. Meanwhile, my father, horrified to find un-husked corn in the fridge, pulled it out and stripped it naked thinking he was doing my cousin an enormous favor.

My mother spent September days carefully blanching, cutting, scraping, and freezing corn. She was very particular about the process, and I have to admit that I’ve never tasted frozen corn as good as hers. In the winter she rationed these bags of gold – one per week – and heated the contents over a double boiler. She put a chunk of butter on top, and stirred the kernels gently as they thawed. To eat that corn at a Sunday dinner in December was to taste summer all over again. Only better.

Our grandson, who is sweeter than all the sweet corn in the world, came to spend the afternoon with us after a recent Sunday visit to the local farmers’ market. We husked the corn we had bought, and it was so lovely that I wanted to preserve it on paper. Henry helped me choose the colors, and I showed him how to squeeze just the right amount of paint onto the palette and how to wet the brush before picking up the color. We painted the kernels together, and he painted the “green parts” a very bright green. When I asked him to sign his name he insisted that we needed to add more facts. And so we did. Opinions about corn and about art start early, and I’m happy to encourage them.

“Henry and Carol Made a Picture of Corn,” Henry Thomas Kennedy and Carol Crump Bryner, 2014

On Wednesday: Peaches

On Whirlwind Hill

An artist's memories of a family farm – Carol Crump Bryner