1
100
2
-
https://richesmi.cah.ucf.edu/omeka/files/original/6e735c00b0e74889126fa7cc9dc4a691.jpg
b9bfac75d3909b5a5051d610b4feb06b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Art Legends of Orange County Collection
Alternative Title
Art Legends Collection
Subject
Art--Southern States
Artists--Florida
Contributor
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
<a href="http://www.orangecountyfl.net/" target="_blank">Orange County Commission Chambers</a>
<a href="http://www.cityoforlando.net/arts/" target="_blank">City of Orlando Gallery</a>
<a href="http://www.orlandoslice.com/group/cityartsfactory" target="_blank">CityArts Factory</a>
<a href="http://artandhistory.org/" target="_blank">Art & History Museums - Maitland</a>
<a href="http://www.rollins.edu/cornell-fine-arts-museum/" target="_blank">Cornell Fine Arts Museum</a>
<a href="http://www.crealde.org/" target="_blank">Crealdé School of Art</a>
<a href="https://thehistorycenter.org/" target="_blank">Orange County Regional History Center</a>
<a href="http://www.omart.org/" target="_blank">Orlando Museum of Art</a>
<a href="http://gallery.cah.ucf.edu/">University of Central Florida Art Gallery</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a>.
Language
eng
Type
Collection
Coverage
Eldora, Florida
Gainesville, Florida
Lake Wales, Florida
Maitland, Florida
Orlando, Florida
Sanford, Florida
Winter Park, Florida
Contributing Project
<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
External Reference
"<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>." Art Legends of Orange County. http://www.artlegendsoc.org/.
Description
<p>Although visual art had been explored in Central Florida, Orange County’s visual arts community truly came alive during the years of 1932-1982, thanks to the vision of 20 distinguished artists and arts leaders. Their influence not only helped build a solid foundation for the local art community but some of Orange County’s local Art Legends significantly influenced modern American Art.<br /><br />To recognize the leadership and celebrate the accomplishments of these arts visionaries, arts administrators from 11 Orange County museums and galleries joined forces and shared collections to create the <em>Art Legends of Orange County</em> initiative.<br /><br />This community-wide collaboration runs throughout the 2015-2016 arts season and includes more than 15 exhibitions and events. <em>Art Legends of Orange County</em> celebrates 20 distinguished artists and patrons who helped build Orange County’s vibrant cultural landscape.</p>
<p><br /><em>Art Legends of Orange County</em> full exhibition schedule and link to virtual exhibition available at <a href="http://www.ArtLegendsOC.org" target="_blank">www.ArtLegendsOC.org</a>.</p>
<p>Visit RICHES™ of Central Florida at <a href="https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends">https://richesmi.cah.ucf.edu/omeka2/exhibits/show/artlegends</a> for virtual exhibition.</p>
Still Image
A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials.
Original Format
1 black and white photograph
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Forest Idyl by Albin Polasek
Alternative Title
Forest Idyl by Albin Polasek
Subject
Polasek, Albin, 1879-1965
Art--Southern States
Artists--Florida
Sculptors--United States
Sculpture--United States
Description
<em>Forest Idyl</em>, a sculpture recreated by Albin Polasek (1879-1965) in 1964. The original sculpture was created with bronze in 1924. Polasek was inspired by Henry Wadsforth Longellow's epic poem "The Song of Hiawartha." Another casting of <em>Forest Idyl</em> was contributed to an art gallery in New York, where the sculptor of the Lincoln Memorial, Daniel Chester French, won the sculpture in a draawing of the gallery's supporting members. While at the American Academy in Rome, Italy, as an honorary professor in 1931, Polasek created a life-size version of <em>Forest Idyl</em> for sculptor Anna Hyatt Huntongton for Brookgreen Gardens, which was her estate in Murrells Inlet, South Carolina. A copy of the 1931 sculpture was also contributed to Ball State University's library in Muncie, Indiana, where she is called "The Naked Lady."<br /><br />For his 1964 version photographed here, Polasek used the same conceptual design that he used in 1924, but instead used the face and hairstyle of his wife, Emily Muska Kubat Polasek, as a model. This casting resides on the front lawn of the Albin Polasek Museum & Sculpture Gardens in Winter Park, and another casting of the 1964 version is located at the Winter Park City Hall. The sculpture's plaque reads: "This statue was donated to the City of Winter Park by the world renowned sculptor Albin Polasek. Mr. Polasek’s many works reflect a gratitude and appreciation for God’s world and America. He loved Winter Park, which became his 'Florida paradise.' This statue, now dedicated to his memory, is a testimonial to that devotion. December, 1966."<br /><br />Polasek was born in 1879 in Frenštát pod Radhoštěm, Moravia (now part of the Czech Republic). He apprenticed as a woodcarver in Vienna, Austria, and immigrated to the United States in 1901. After working in the Midwest for nearly four years, Polasek finally began his formal training at the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania. In 1910, Polasek won the Prix de Rome competition, spending three years at the American Academy of Art in Rome, Italy. Once he completed his studies in Rome, Polasek moved to New York City, New York, and set up a studio there. In 1916, the Art Institute of Chicago invited him to head its sculpture department, where he remained for nearly 30 years.<br /><br />In 1949, Polasek retired to Winter Park, Florida, building a home on Lake Osceola. In spite of suffering a stroke in 1950 that left him confined to a wheelchair and his left side paralyzed, Polasek continued to paint, draw, sculpt clay, and carve wood, creating a total of 18 major works before his death in 1965. In 1961, Polasek established the Polasek Foundation, designating his personal galleries, chapel, and gardens as a museum. Each year, thousands of local and international guests come to Winter Park to visit Polasek’s historic home and studio at the Albin Polasek Museum & Sculpture Gardens. Polasek’s works can be found in Europe, all over the United States, and locally in Winter Park and Orlando.
Type
Still Image
Source
Original sculpture: Polasek, Albin. <em>Forest Idyl</em>, 1964. <a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>, Winter Park, Florida.
Is Part Of
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>, Winter Park, Florida.
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/155" target="_blank">Art Legends of Orange County Collection</a>, RICHES of Central Florida.
Is Format Of
Digital reproduction of original sculpture: Polasek, Albin. <em>Forest Idyl</em>, 1964.
Coverage
Albin Polasek Museum & Sculpture Gardens, Winter Park, Florida
Date Created
1964
Format
image/jpg
Extent
300 KB
Medium
1 black and white photograph
Mediator
History Teacher
Humanities Teacher
Visual Arts Teacher
Provenance
Originally created by Albin Polasek.
Rights Holder
Copyright to this resource is held by Albin Polasek and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Accrual Method
Donation
Contributing Project
<a href="http://www.artlegendsoc.org/" target="_blank">Art Legends of Orange County</a>
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
External Reference
"<a href="http://www.polasek.org/about/albin-polasek-biography/" target="_blank">ALBIN POLASEK BIOGRAPHY</a>." Albin Polasek Museum & Sculpture Gardens. http://www.polasek.org/about/albin-polasek-biography/.
Polasek, Emily M. K., and Albin Polasek. <a href="http://www.worldcat.org/oclc/2724030" target="_blank"><em>Albin Polasek: Man Carving His Own Destiny</em></a>. 1970.
Sherwood, Ruth. <a href="http://www.worldcat.org/oclc/1240669" target="_blank"><em>Carving His Own Destiny: The Story of Albin Polášek</em></a>. Chicago: R.F. Seymour, 1954.
Albin Polasek
art
artist
Emily Muska Kubat
Emily Muska Kubat Polasek
Forest Idyl
sculpting
sculptor
sculpture
Winter Park
-
https://richesmi.cah.ucf.edu/omeka/files/original/bbb0ae842ad6e72de73c9276c0dd813b.mp3
b866855cd9352138590d10fae92c3caa
https://richesmi.cah.ucf.edu/omeka/files/original/8f38523892d260024f1c6b52fb61cb8e.pdf
28d06349d57059dc0679914dc7d67591
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Albin Polasek Museum & Sculpture Gardens Collection
Alternative Title
Polasek Collection
Subject
Albin Polasek Museum & Sculpture Gardens
Winter Park (Fla.)
Art--Southern States
Artists--Florida
Contributor
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
Is Part Of
<a href="https://richesmi.cah.ucf.edu/omeka2/collections/show/34" target="_blank">Winter Park Collection</a>, Orange County Collection, RICHES of Central Florida.
Language
eng
Type
Collection
Coverage
Albin Polasek Museum & Sculpture Gardens, Winter Park, Florida
Accrual Method
Donation
Rights Holder
Copyright to these resources is held by the <a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
External Reference
"<a href="http://www.polasek.org/about/" target="_blank">ABOUT</a>." Albin Polasek Museum & Sculpture Gardens. http://www.polasek.org/about/.
Description
The Albin Polasek Museum and Sculpture Gardens, located at 633 Osceola Avenue in Winter Park, Florida. Albin Polasek, known internationally for his sculptures, retired to Lake Osceola in Winter Park in 1950. The same year that he had moved to Florida, Polasek suffered from a stroke, which paralyzed the right side of his body. Seven months later, he married one of his former students, Ruth Sherwood, who died just two years later. Despite being confined to a wheelchair, Polasek was able to create 18 major works in his later years. In 1961, he married Emily Muska Kubat and the set up the Albin Polasek Foundation, opening up the Albin Polasek Museum & Sculpture Gardens, located in parts of Polasek's home and studio, which featured his personal galleries, chapel, and gardens. On May 19, 1965, Polasek passed away and was buried beside his first wife at Palm Cemetery.
Oral History
A resource containing historical information obtained in interviews with persons having firsthand knowledge.
Interviewer
Parke, Erin
Interviewee
McIntosh, Hal
Original Format
1 audio recording
Duration
1 hour, 6 minutes, and 42 seconds
Bit Rate/Frequency
128kbps
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
Art Legends of Orange County: The Art of Hal McIntosh
Alternative Title
Oral History, McIntosh
Subject
Oral history--United States
Winter Park (Fla.)
Albin Polasek Museum & Sculpture Gardens
Art--Southern States
Artists--Florida
Painters--Southern States
Painting--Florida
Hopper, Edward, 1882-1967
Education--Florida
Teachers--Florida
Educators--Florida
Polasek, Albin, 1879-1965
Naples (Fla.)
Maitland (Fla.)
Description
Oral history of Hal McIntosh, conducted by Erin Parke on March 16, 2015. McIntosh is a nationally renowned artist who currently resides in Winter Park, Florida. Born in 1927, Hal McIntosh began his formal studies at the Detroit Art Institute in Detroit, Michigan, and the Toledo Museum of Art in Toledo, Ohio. At age 18, the Art Research Studio (present-day Maitland Art Center) in Maitland, Florida, selected him as the institution’s youngest-ever artist in residence. His talent later earned him the Directorship of the Academy of Fine Arts in Lynchburg, Virginia, where he served as a museum director and teacher for five years. As a resident of Central Florida, McIntosh taught at the Loch Haven Art Center in Orlando and even ran his own institution known as the McIntosh School in Winter Park for 30 years. McIntosh splits his time between his Cape Cod, Massachusetts, and Winter Park studios. <br /><br />With an artistic career lasting over 60 years, Hal McIntosh’s influence on our community is profound. His bold abstractions, tranquil waterscapes, and stirring portraiture, all masterfully painted with a touch of McIntosh’s signature Orientalism, have been widely exhibited in the area and are part of numerous regional collections, both private and public. Deep connections with the people and places of Orange County have allowed McIntosh to join the ranks as one of the greats and to be remembered eternally as an Art Legend. <br /><br />In this oral history interview, McIntosh discusses his early life and education, his teaching philosophy, and where he gets the inspiration and influence for his art. He also mentions his relationship with Albin Polasek and Emily Muska Kubat Polasek. Eric Varty, a close friend of Hal, also contributes briefly to the conversation.
Table Of Contents
0:00:00 Introduction<br />0:03:01 Life as an artist<br />0:09:16 Galleries in Winter Park<br />0:14:35 Galleries in Naples<br />0:22:58 Galleries in Cape Cod, Massachusetts<br />0:25:30 Edward Hopper<br />0:29:11 Teaching philosophy<br />0:38:12 Audience perception<br />0:41:03 Inspiration<br />0:47:12 Winter Park Arts Festival and commission<br />0:54:27 Albin Polasek and Emily Muska Kubat Polasek<br />1:03:54 Maitland Research Studio and Jules Andre Smith<br />1:06:29 Closing remarks
Creator
McIntosh, Hal
Parke, Erin
Source
Original 1-hour, 6-minute, and 42-second oral history: McIntosh, Hal. Interviewed by Erin Parke on March 16, 2015. <a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>, Winter Park, Florida.
Date Created
2015-03-16
Date Copyrighted
2015-03-16
Date Modified
2015-06-09
Has Format
50-page digital transcript of original 1-hour, 6-minute, and 42-second oral history: McIntosh, Hal. Interviewed by Erin Parke on March 16, 2015. <a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>, Winter Park, Florida.
Is Part Of
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>, Winter Park, Florida.<a href="https://richesmi.cah.ucf.edu/omeka2/admin/collections/show/id/152" target="_blank"><br /></a>
<a href="https://richesmi.cah.ucf.edu/omeka2/admin/collections/show/id/152" target="_blank">Albin Polasek Museum & Sculpture Gardens Collection</a>, Winter Park Collection, Orange County Collection, RICHES of Central Florida.
Requires
<a href="http://get.adobe.com/flashplayer/" target="_blank"> Adobe Flash Player</a>
<a href="http://java.com/en/download/index.jsp" target="_blank">Java</a>
<a href="http://www.adobe.com/products/reader.html" target="_blank">Adobe Acrobat Reader</a>
Format
audio/mp3
application/pdf
Extent
61 MB
288 KB
Medium
1-hour, 6-minute, and 42-second audio recording
50-page digital transcript
Language
eng
Type
Sound
Coverage
Provincetown, Cape Cod, Massachusetts
Winter Park, Florida
Naples, Florida
Albin Polasek Museum & Sculpture Gardens, Winter Park, Florida
Research Studio, Maitland, Florida
Accrual Method
Donation
Mediator
History Teacher
Geography Teacher
Humanities Teacher
Visual Arts Teacher
Provenance
Originally created by Hal McIntosh and Erin Parke.
Rights Holder
Copyright to this resource is held by the <a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a> and is provided here by <a href="http://riches.cah.ucf.edu/" target="_blank">RICHES of Central Florida</a> for educational purposes only.
Curator
Cepero, Laura
Digital Collection
<a href="https://richesmi.cah.ucf.edu/map/" target="_blank">RICHES MI</a>
Source Repository
<a href="http://www.polasek.org/" target="_blank">Albin Polasek Museum & Sculpture Gardens</a>
External Reference
"<a href="http://www.paintingsbymcintosh.com/mbr_bio.php" target="_blank">Paintings By McIntosh: CV/Bio</a>." Paintings By McIntosh. http://www.paintingsbymcintosh.com/mbr_bio.php.
Bishop, Philip E. "<a href="http://articles.orlandosentinel.com/2005-02-15/news/0502140273_1_mcintosh-koi-painting" target="_blank">Winter Park Artist Mcintosh Spices Life With Variety</a>." <em>The Orlando Sentinel</em>, February 15, 2005. http://articles.orlandosentinel.com/2005-02-15/news/0502140273_1_mcintosh-koi-painting.
Hummel, Terry. "<a href="http://articles.orlandosentinel.com/2011-11-03/entertainment/os-hummel-art-events-orlando-20111103_1_area-artists-artists-share-art-galleries" target="_blank">A must-see show in Eustis: Lake Eustis Museum of Art shows works by Hal McIntosh, Maury Hurt, Bill Orr</a>." <em>The Orlando Sentinel</em>, November 3, 2011. http://articles.orlandosentinel.com/2011-11-03/entertainment/os-hummel-art-events-orlando-20111103_1_area-artists-artists-share-art-galleries.
Transcript
<p><strong>Parke<br /></strong>Alright. Good morning. Um, my name is Erin Parke and today I will be interviewing Mr. Hal McIntosh. Today is, uh, March 16<sup>th</sup>, 2015, and—alright. Um, Hal, can you tell me a little bit about like your early life? Where you grew up, um, if you had brothers and sisters, anything like that?</p>
<p><strong>McIntosh<br /></strong>Well, I grew up in—in Detroit, Michigan, and, uh, I had, uh, uh, older brother—two older brothers and an older sister. I was the…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Baby of the...</p>
<p><strong>Parke<br /></strong>Baby.</p>
<p><strong>McIntosh<br /></strong>Family, and, uh, apparently, my art interest started very early.</p>
<p><strong>Parke<br /></strong>Nice.</p>
<p><strong>McIntosh<br /></strong>My, uh, mother said that, when I was five, I was doing caricatures</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Of my little friends.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>She could recognize who they were.</p>
<p><strong>Parke<br /></strong>Oh, that’s amazing.</p>
<p><strong>McIntosh<br /></strong>I was five years old, and as the years went by—my early years—really early years—my parents didn’t try to rush me into…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Arts, uh, teachers…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Or anything like that. They just saw that I had any materials that I needed, but, uh, they never tried to force me to study, you know, when I was young.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>They just let me alone because that was the only thing I wanted to do…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>As a kid.</p>
<p><strong>Parke<br /></strong>[<em>clears throat</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh—so, uh, I was fortunate, in that respect. A lot of the parents that I’ve talked to in later years that had, uh, children that are…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Artistic, and they say, “Oh, what am I going to do? I’ve gotta…”</p>
<p><strong>Parke<br /></strong>Yep.</p>
<p><strong>McIntosh<br /></strong>“Send them somewhere to study.” I said…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“Well,” you know, “Don’t rush them into—don’t overdo your…”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“You’re pushing them, because that’ll turn them right off., uh, just be—do what you can.”</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>“Cooperate, but don’t make a big deal out of it.”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And if they’re really gonna do something in their lifetime—what—whatever…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Kind of, uh, occ—occupation…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>They might end up, sometimes those interests—interests start when kids are very young.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Sometimes you don’t—you might have a…</p>
<p><strong>Parke<br /></strong>Find out later on…</p>
<p><strong>McIntosh<br /></strong>[inaudible] degree in engineering, and—and you end up, uh, doing something…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Totally different [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I was, uh, fortunate enough to know all my life what I wanted to do.</p>
<p><strong>Parke<br /></strong>That’s amazing, and it’s nice that your family was so supportive. That’s great.</p>
<p><strong>McIntosh<br /></strong>Well…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>They were supportive by not…</p>
<p><strong>Parke<br /></strong>By not pushing you.</p>
<p><strong>McIntosh<br /></strong>Pushing.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh,these hysterical mothers that…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] I’d seen in the past, uh…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>That, you know, come to me for advice, because their[sic] child is doing some drawings, and—“What’ll I do? What’ll I do?”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Leave ‘em alone [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>Yeah, so you’ve been able to make your living as an artist, uh, essentially your whole life, and that’s extremely amazing and very significant. Um, how has that been for you?</p>
<p><strong>McIntosh<br /></strong>Well, it’s a very difficult, uh…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Situation. When you’re an artist, there’s—there’s not a lot of jobs sitting around waiting for you.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, I was very fortunate, uh, in the years that I was at Rollins [College], uh, as a temporary student…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Years ago, of course, and, uh, the brother of one of this[sic] Rollins students was an artist that[sic] I met who lived in Silver Springs[, Florida].</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, I was, at that point—later on—had a master’s degree from the University of Michigan—teaching there.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And what do you do…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>You know? You don’t walk out with those credentials…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And walk into a job. Nobody’s awaiting for you.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And, uh, this friend had some really nice portraits of—that he had stacked on the floor…</p>
<p><strong>Parke<br /></strong>Hm.</p>
<p><strong>McIntosh<br /></strong>Against the wall. He was a landscape painter, and I said, “I didn’t know you did portraits,” and he said, “Well, I started with Jerry Farnsworth on Cape Cod[, Massachusetts].” He’s quite a prominent…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>American portrait painter, and he said—he said, “Why don’t you, uh, write Jerry Farnsworth and see if you can get a job as his assistant.”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“Learn how to do really commercial portraits, and, uh, that way you might be able to make a living…”</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>“To start out with,” and I did so, and…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, was accepted with my credentials.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, didn’t even have a car…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>At that time [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I got off the bus in North Truro, Massachusetts, and was directed how to walk to the professor’s house, and, uh, Jerry Farnsworth and Helen Sawyer were, uh, uh, married, and she was a well-known, uh, artist.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And taught in the school, and, uh, this was basically, uh, a school, uh—portraiture school.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Minor landscape work—‘cause she taught and he taught the, uh—the, uh, portrait work. I was with him for five years.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>He had another school in Sarasota[, Florida].</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>Uh, and, uh, Siesta Key[, Florida] [inaudible].</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, uh, I was down there during the winter.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I worked in a hotel.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I was busboy, waiter…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Several other jobs—a hotel on the beach—and went to school and taught with him in—in mornings, and that exposure, uh, through five years…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>With him really…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Got me so I was able to make some money doing portraits.</p>
<p><strong>Parke<br /></strong>Nice.</p>
<p><strong>McIntosh<br /></strong>And I had, uh—uh, this hotel I was working in part-time, after the morning school sessions, someone saw my work there and recommended me—unknown to myself, uh…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>To the board of directors of, uh, an art museum…</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>Up in Virginia.</p>
<p><strong>Parke<br /></strong>Mmhmm [<em>clears throat</em>].</p>
<p><strong>McIntosh<br /></strong>And later on, I was accepted, became director of the museum there for five years, but, uh, those accidental things that happen.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You know? You meet someone…</p>
<p><strong>Parke<br /></strong>Yep.</p>
<p><strong>McIntosh<br /></strong>Who’s done portraits, and, uh—for three years, I did portraits, uh, in Provincetown, Massachusetts…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, on the street…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Let’s say, uh, I had a studio…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>In a building that was on—right on the Commercial Street there, but at night, I had a display outside and people would book portrait[sic] for their children and stuff.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Pastel portraits, uh, done for $10…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, in a matte and in a bag in 45 minutes. Uh…</p>
<p><strong>Parke<br /></strong>That’s so quick [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[inaudible]. It was—it was a shock to get—to have to start that kind of a routine…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>But I got used to it, and…</p>
<p><strong>Parke<br /></strong>[<em>clears throat</em>].</p>
<p><strong>McIntosh<br /></strong>Uh,I did six to eight portraits a day…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>For the whole summer, ‘cause I had summers off, uh, from teaching, and, uh, that led—all those portraits I did—hundreds of them…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Literally, I, uh—for three years.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Eight—eight days a week—seven days a week.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, so I had a—a record of lots of portraits in my…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Career. Now, those $10 [<em>laughs</em>] portraits…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Would be $60 [<em>laughs</em>] portraits.</p>
<p><strong>Parke<br /></strong>Yeah, exactly.</p>
<p><strong>McIntosh<br /></strong>[inaudible] at the time, but believe it or not, I bought my beach house on Cape Cod…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>With the money from—just from those…</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>$10 portraits.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>And, uh, as I was saving all that money…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>In cash, uh, in a safe deposit box to go to Japan.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And this house came up for sale on Cape Cod on the beach, and I opted to buy this house…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>With that money, and I got to Japan later on in years.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, had a wonderful experience in Japan, which is another story.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>] So I know that you have a true love for Cape Cod. Um, what drew you here to Winter Park[, Florida]?</p>
<p><strong>McIntosh<br /></strong>Uh, my, uh—that’s a story that starts in Sanford[, Florida]. My sister and her husband were stationed—he was stationed in Sanford at the…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>Navy base there, at that time.</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>And, uh, I came down for part of my high school and lived with them in Sanford. Uh, they had an old house on the lake, right opposite the airport…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>So the planes were taking off…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Over the house, and, uh, uh, they decided, after, uh, he left the Navy, uh, to stay</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, in Florida, because their son was, uh, a young son…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And was doing better health-wise in Florida…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>For some reason. I don’t know what…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But they decided to stay here.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And, uh, he, uh—they had a house and[?]—rented a house, right on the highway in[?]—across from Lily Lake…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>In, uh—in Winter Park.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Anyhow, uh, families tend to…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Follow families.</p>
<p><strong>Parke<br /></strong>Yes, they do.</p>
<p><strong>McIntosh<br /></strong>And, eventually, my parents…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh</strong><br />Moved down to Florida, because…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>My sister and her husband were…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Settled there, and, uh, later on, my brother—older brother—moved to Florida, and, uh, my other brother moved to Florida.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>So it was just gradual process.</p>
<p><strong>McIntosh<br /></strong>Uh, so that’s a story that people in Florida that[sic] are Yankees basically, uh, “wash ashore,” as they used to call it…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>On Cape Cod [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, they follow one another, you know?</p>
<p><strong>Parke<br /></strong>Mmhmm, yeah.</p>
<p><strong>McIntosh<br /></strong>It just happened at different time periods.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And I’d go back and forth when—when I was in college…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>To, uh, my parents’ house, and, uh—so we all ended up here [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>]. And I stayed at it, and—oh, Winter Park has been very good to me.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I had wonderful exposure on Park Avenue for many, many years</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Which a lot of artists didn’t have that, uh—that lot that the, uh, uh, wonderful, old Golden Cricket Shop had a gallery…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Right in front of the shop that was all mine…</p>
<p><strong>Parke<br /></strong>Oh, wow.</p>
<p><strong>McIntosh<br /></strong>For years.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>So I had like 10 paintings</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In the gallery, and a painting in the window, but it was a gift shop…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>That I had that exposure to the sidewalk with—with one major painting</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And people would come in and buy…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Or see paintings there for a number of years, and, uh, right after that, I was with Center Street Gallery, who actually, uh—uh, I think they owned the property that the Cricket…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>Was—the Golden Cricket was on, and Hugh McCain and Je—Jeanette Genius [McKean] were friends, and—and Mr. McCain was one of my part-time professors at Rollins.</p>
<p><strong>Parke<br /></strong>Oh, nice.</p>
<p><strong>McIntosh<br /></strong>How they ever let me in…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Rollins? I don’t…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I don’t know, but, uh, I was only doing art…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Art there, but then, I had exposure at the Center Street Gallery, which was actually ended up right next door…</p>
<p><strong>Parke<br /></strong>Nice.</p>
<p><strong>McIntosh <br /></strong>To the Golden Cricket.</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>And an almost [inaudible]—almost war situation.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Between the two of them, and, uh, after long years at Center Street Gallery and a number of shows there, uh, I went with, uh, Solarte, which was a—a shop down the avenue, uh, owned by a French gentleman and his family, and had my—I had a big show there…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And had my work on display there for several years, uh, which was another exposure on Park…</p>
<p><strong>Parke<br /></strong>Mmhmm, yeah.</p>
<p><strong>McIntosh<br /></strong>Avenue, and I—I lucked into things like that, but, uh…</p>
<p><strong>Varty<br /></strong>Miller Gallery.</p>
<p><strong>McIntosh<br /></strong>Oh, well, Miller Gallery.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] I was with them, but they weren’t getting the kind of support from the community</p>
<p><strong>Parke<br /></strong>Hm.</p>
<p><strong>McIntosh<br /></strong>Winter Park was—and maybe still is—a little difficult in—for a gallery.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Really, I don’t know why, because Winter Park people have plenty of money…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But, uh, Miller Gallery stayed only for a year or so.</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>They just weren’t…</p>
<p><strong>Parke<br /></strong>It just wasn’t making it.</p>
<p><strong>McIntosh<br /></strong>Making the sales.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And they left, so I don’t consider, you know, that a long association with them.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But, uh…</p>
<p><strong>Varty<br /></strong>Naples[, Florida].</p>
<p><strong>McIntosh<br /></strong>Well, Naples, [<em>laughs</em>] yes.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>Varty<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I had careers [<em>laughs</em>] in this—I don’t know whether this leads directly into Naples, but, uh…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Friends of mine, uh, on Cape Cod had a gallery, where my work was exhibited, and they were both professors, uh, in Boston[, Massachusetts].</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>At, uh, universities there and such[?], and, uh, they did the gallery work in the summertime, and had a beautiful gallery—one of prettiest ones on that end…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Of Cape Cod, and after a few years of success in that gallery, I had several shows there. Uh, they decided to, uh, give up the teaching, made a decision…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And the gallery was doing so well, they decided to have a second gallery in Florida, and, uh, I met them in Florida, and they were in Sarasota, at that time, and they were looking there, and they—both close friends of mine, as well as handling my work…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, they kept—when[?] we were in Sarasota, they kept talking about Naples, and I said, “We’re sitting in Sarasota and you’re talking about Naples. Let’s go to Naples.”</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>] It’s not far from there [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And they wanted my advice and stuff.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And so we all went to Naples, and they ended up renting, uh, uh, space in the nicest part of Naples downtown…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, it was only a couple of years. They were so successful. Basically, the only really good gallery in Naples, at that time.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Now there are probably a hundred galleries…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In Naples [<em>laughs</em>], uh, but as the years—few years—went by, they, uh, built a gallery on, uh, Fifth[?] Street—I don’t know what. The Naples Art Gallery—elegant, gorgeous, gallery.</p>
<p><strong>Parke<br /></strong>Nice.</p>
<p><strong>McIntosh<br /></strong>Big gallery.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh, shows, uh, really top artists.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntos<br /></strong>And, uh, it was the—probably one of the prettiest galleries in the country.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>From outside and from inside.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>It had mostly paintings, but they also—part of the gallery was elegant gifts, uh…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And antique, uh—oriental antiques…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>In a—just a side gallery, uh, but they were there for years.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And most successful.</p>
<p><strong>Parke<br /></strong>That’s nice.</p>
<p><strong>McIntosh<br /></strong>And I had 24 one-man shows there.</p>
<p><strong>Parke<br /></strong>Just there? How many have you had in total again?</p>
<p><strong>McIntosh<br /></strong>35 [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>That’s awesome [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, but, uh, these shows were, uh, something else.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>They—actually, a one-man show only ran for a week…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>Which is unusual.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, people were allowed to watch them hang the show on Saturday.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And they didn’t—people did come. They wanted to see what was coming up, and whether they wanted to go to the opening on Sunday [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And they weren’t allowed to buy anything…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh </strong>Uh, which is unusual.</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, they wouldn’t let somebody buy something that was supposed to go in the show that would not be in the show.</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>So Sunday night—are—are we getting close to the end here? You’re looking at…</p>
<p><strong>Parke<br /></strong>I’m trying—I’m just making sure that it’s picking everything up.</p>
<p><strong>McIntosh<br /></strong>Oh.</p>
<p><strong>Parke<br /></strong>Sorry [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Yeah, so the openings were Sunday night and this is a…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>This is a riot. Naples is very elegant. I had special clothes to wear when I had my openings, because, you know, you don’t wear pink sport coats in…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In Winter Park. Naples is very formal, but very…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Resort-y and very rich.</p>
<p><strong>Varty<br /></strong>Bizarre [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>What? [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>He—he can’t stop talking.</p>
<p><strong>Parke </strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh…</p>
<p><strong>Varty</strong> <br />Sorry.</p>
<p><strong>McIntosh<br /></strong>The, uh—on Sunday night, people, at six o’clock…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Would line up to come into the gallery, and the doors would not open till six, and here we go again.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>As they came in—sometimes in formal clothes, because they were going out separate[?].</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, as they came in, they were not allowed to buy a painting.</p>
<p><strong>Parke<br /></strong>Hm.</p>
<p><strong>McIntosh<br /></strong>They could look for a half an hour, and, uh, at the end of a half an hour, they could make a bid on the painting and…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>So the wife—they—they would come in and they’d quickly [inaudible].</p>
<p><strong>Parke<br /></strong>They’d find one that they loved.</p>
<p><strong>McIntosh<br /></strong>Yeah.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>They’d see. Then on Saturday…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>So they already knew there was one they loved[?]. So the wife would park her husband…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In front of the painting, and he would just stand in front of the painting with his arms folded blocking the painting.</p>
<p><strong>Parke<br /></strong>Oh, my goodness.</p>
<p><strong>McIntosh<br /></strong>So that the other Naples folks knew that they…</p>
<p><strong>Parke<br /></strong>That that was taken.</p>
<p><strong>McIntosh<br /></strong>So at 6:35, they would[?]—[inaudible] this—the—the wife would say, “We have that one.”</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And—but they didn’t want, uh, people to presell from seeing the work…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>The day before or whatever—week before—and, uh, they wanted everybody that[sic] was coming to the show basically to…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>To be able to buy a painting.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, so consequently, uh, the sales were almost always right in the first couple of days…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>For the opening night, and, uh, rest of the week some of them would be out on their yachts…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And stuff, so they didn’t want to miss these shows…</p>
<p><strong>Parke </strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>If they looked important, and so I basically made my living, uh, in—in, uh, one week out of the year.</p>
<p><strong>Parke<br /></strong>That[sic] amazing.</p>
<p><strong>McIntosh<br /></strong>At a Naples show.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, and if it rained on the opening night, uh, that—that put a damper on sales.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But, uh, it worked out 24 times</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] So…</p>
<p><strong>Parke<br /></strong>That’s great.</p>
<p><strong>McIntosh<br /></strong>And, uh, the gallery truly—well, it just—you’ll see the picture of it.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>It was, uh, probably one of the prettiest galleries…</p>
<p><strong>Parke<br /></strong>Extravagant.</p>
<p><strong>McIntosh<br /></strong>In the country. Very, very beautiful.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>These guys had good taste.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh, they handled [inaudible] Glass[?].</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Um, a lot of well-known painters from California and other parts of the country.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And[?], uh, I actually—I’ve always been interested in antiques. I bought antiques in Winter Park for them to put in their gallery.</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>In their sales gallery—antique area there, and, uh, they didn’t have time…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>To scout antiques.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>I loved scouting antiques [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>That’s nice.</p>
<p><strong>McIntosh<br /></strong>So I would buy stuff for them, and—and they would se—sell it at the gallery…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>For 10 times what I got.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>I was getting good bargains…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>From dealers here in Winter Park and elsewhere. Uh…</p>
<p><strong>Varty<br /></strong>Don’t forget the Blue Heron Gallery and the Cove Gallery.</p>
<p><strong>McIntosh<br /></strong>Well, I know those were galleries on Cape Cod. I’m not going to forget them, but, uh, I exhibited at the Blue Heron Gallery and another top gallery on Cape Cod…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>For many years. Before that, the Cove Gallery., uh, so I had those two galleries on Cape Cod.</p>
<p><strong>Parke<br /></strong>So you’ve been all over [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Well, you’ve gotta—when you’re painting every day…</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, you know, you need the exposure, and, um, just ended up being on Cape Cod, for, today, it’s six months of the year.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>At Cape Cod., uh, when I was teaching, we had shorter summers, but, uh, now, it’s half here half on Cape Cod.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Cape Cod is a fabulous place for artists.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, the light is gorgeous there for painting, and the portrait studio there, on a gray day, the light was absolutely…</p>
<p><strong>Parke<br /></strong>Oh.</p>
<p><strong>McIntosh<br /></strong>Gorgeous on—on the models on a gray day.</p>
<p><strong>Park<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, uh, very cool light.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Florida has that hot light.</p>
<p><strong>Parke<br /></strong>Yes [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[inaudible].</p>
<p><strong>Parke<br /></strong>It does.</p>
<p><strong>McIntosh<br /></strong>Well, [inaudible] it’s not just the heat it’s a harsher light…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>For a painter than Cape Cod. That’s why Cape Cod has many, many artists.</p>
<p><strong>Parke<br /></strong>Okay. That’s interesting.</p>
<p><strong>McIntosh<br /></strong>It’s in[?] the, uh—the, uh, most famous American painter today. Eric? [<em>laughs</em>].</p>
<p><strong>Varty<br /></strong>Yes. Edward Hopper?</p>
<p><strong>McIntosh<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>Varty</strong> <br />[inaudible]?</p>
<p><strong>McIntosh<br /></strong>Uh…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Not…</p>
<p><strong>Varty<br /></strong>Uh, [inaudible]?</p>
<p><strong>McIntosh<br /></strong>Not Miligrove[?]. Probably the most famous…</p>
<p><strong>Varty<br /></strong>Uh…</p>
<p><strong>McIntosh<br /></strong>Uh, American painter…</p>
<p><strong>Varty<br /></strong>[inaudible]?</p>
<p><strong>McIntosh<br /></strong>Of—of all time…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Is, uh, Robert, uh [<em>laughs</em>]—Eric?</p>
<p><strong>Varty<br /></strong>Who?</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Who’s the person you—what was the first name?</p>
<p><strong>Varty<br /></strong>Oh, Edward Hopper.</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] I’m talking and I’m forgetting as fast as I can[?].</p>
<p><strong>Varty<br /></strong>You could see Edward Hopper’s house…</p>
<p><strong>McIntosh<br /></strong>Yeah.</p>
<p><strong>Varty<br /></strong>From Hal’s house on the Cape.</p>
<p><strong>Parke<br /></strong>Oh, wow.</p>
<p><strong>McIntosh<br /></strong>Yeah</p>
<p><strong>Parke<br /></strong>That’s awesome [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And I knew Edward Hopper through the Farnsworth’s [inaudible] school.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I went to, uh, cocktail parties with him.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And one time Jerry Farnsworth said that, “We’re going to this party and Edward Hopper will be there, but, uh, you’ll—I’ll introduce you to him, but don’t expect him to say much…”</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>“Because he doesn’t—isn’t a big talker,” and, uh, I did meet him that night, and, uh, he was a very polite listener and wonderful. Very imposing…</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Tall gentleman, but I could see their house from…</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>Down the beach on the cliff from my house, and anyhow, uh, I wasn’t a close friend of Edward Hopper’s, but we were close enough. Uh, we sat in a Christian Union Church, when they had these flea market sales of clothes and china…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And stuff, and his wife<a title="">[1]</a> and Mrs. Farnsworth were trying on…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Cheap clothing, blouses and suits…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And coats, and…</p>
<p><strong>Varty<br /></strong>Uh…</p>
<p><strong>McIntosh<br /></strong>Step, uh…</p>
<p><strong>Varty<br /></strong>[inaudible].</p>
<p><strong>McIntosh<br /></strong>No [<em>laughs</em>]. They would—we would…</p>
<p><strong>Varty<br /></strong>Mrs. Farnsworth was Helen Sawyer.</p>
<p><strong>McIntosh<br /></strong>I’ve already made that clear.</p>
<p><strong>Varty<br /></strong>Oh, okay. Reference her at the Morse Museum of American Art.</p>
<p><strong>McIntosh<br /></strong>Okay. Uh, Helen Sawyer is Mrs. Farnsworth.</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>And is recognized in major museums…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>As well as Farnsworth was. Both of those, uh, couples—Farnsworth and Hopper—were both, uh, active during the [Great] Depression.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh</strong> And they were frugal.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Farnsworth had a garden where they grew their own vegetables, so they wouldn’t go to the grocery store except to buy meat</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But they grew everything else, and they were used to—during the Depression, Jerry Farnsworth, a famous portrait painter, would make clothes out of old, uh, bags</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Flour bags that they used to have patterns on the big bags of—of flour for his wife</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And very frugal [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And that’s why those two wives were trying on cheap clothes at the church …</p>
<p><strong>Parke<br /></strong>‘Cause that’s what they always knew.</p>
<p><strong>McIntosh<br /></strong>Sale. Well, they just, you know, uh—they weren’t shoppers. [inaudible] [<em>laughs</em>]. Eh, uh, Eric and I would say, uh, [<em>laughs</em>] he—Hopper—Edward and I sat there and he would just shake his head</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Every time they came out in one of these outfits. You know, outfits for two dollars [<em>laughs</em>].</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But here’s—at that time, he was a well-known painter.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, extremely well-known.Now he’s considered one of the top American painters</p>
<p><strong>Parke<br /></strong>Mmhmm, yeah.</p>
<p><strong>McIntosh<br /></strong>Period. Uh, [<em>clears throat</em>] a wonderful, wonderful man.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>His—his wife did all the talking.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>] Always.</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] I find[?] out—found out why he’s so quiet, because…</p>
<p><strong>Parke<br /></strong>‘Cause he has a wife to make up for it [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>She—she talked all the time [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>That’s probably why Edward was fairly silent, but, uh—a big tall man.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Very imposing man, and, uh his work is—is fabulous.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Fabulous. Really [inaudible].</p>
<p><strong>Parke<br /></strong>It’s beautiful.<strong> </strong>Um, can you tell me a little about your teaching philosophy? I know teaching was a big part of your life.</p>
<p><strong>McIntosh<br /></strong>Oh, absolutely. I’ve taught for over 40—40 years [<em>clears throat</em>], and, uh, I think my philosophy is—basically, in teaching—is how to teach the students how to see</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, people don’t see like artists, and, uh, it takes a long time to get them to that point. I also wanted them, uh, to end, uh, up being taught and being brought out as individual painter, not as a [inaudible].</p>
<p><strong>Parke<br /></strong>As a cookie-cutter…</p>
<p><strong>McIntosh<br /></strong>Well…</p>
<p><strong>Parke<br /></strong>Standard.</p>
<p><strong>McIntosh<br /></strong>Not—not the [inaudible]—cookie-cutter. So many students and many of my early students wanted to study with me, because they wanted to paint like me, and I went through two schools with Farnsworth. Later on, Bassford School, where they taught only their style, and the students were painting as much as they could like the teacher.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>My philosophy was that I would expose my students to different techniques. Every couple of weeks, they would have a new project. This week we’re, uh—do an abstract. Uh, next week we’re gonna do this and this, uh, but it—it shocked them, because they</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>You know, they had to start thinking differently</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Because these were specific, uh, instructions that we’re gonna go in this direction…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Art-wise, uh, and I would find [<em>clears throat</em>] after a long time—I had students for years. Some of them by being exposed to different techniques and presentations of art, I would find one person, suddenly, would just glow when they—you know, because they…</p>
<p><strong>Parke<br /></strong>They found what they were supposed to do [<em>clears throat</em>].</p>
<p><strong>McIntosh<br /></strong>Found what they loved</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And I would say, “Okay, Mrs. so-and-so or Mr. so-and-so, you’re gonna stay…”</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /> </strong>“With this technique as long as you can.”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“Forever, if possible.”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“We’re going to keep trying stuff,” and as—as I kept students for a long time. They—they loved my classes, and in spite of the fact they were in shock when I had to expose them to different…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Techniques, but eventually, all ended up with their own…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Style, and that’s the biggest service you can do to a student—is find them and what’s in them.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Teach them how to see.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I had—students would come to me, practically in tears…</p>
<p><strong>Parke<br /></strong>Oh.</p>
<p><strong>McIntosh<br /></strong>After a couple years studying. They’d say, “I—finally, I know what you meant when you said, ‘You’ve gotta learn to see.’ I see things so much differently.” uh, I’m visual.</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>All my life, I’ve been visual. Uh, I could turn my head and see subject matter around me anywhere or in the gutter.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>You know, I would—I’d tell them, “Look down,” you know, “Look at the cement. There might be something there…”</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>“That’s beautiful. Uh, look—look at that garbage can.” You know, there’s beauty everywhere.</p>
<p><strong>Parke<br /></strong>That’s a remarkable skill to have [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Well—but I had severe exposure in the portrait school…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>To the particular style, uh, that I was learning, uh, because he taught only his style. After that, you’re—in time, you go to your own style.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>There’s a long delay, if you have been with one teacher the long time. You’re only doing…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>His style work, and a lot of artists do the same, uh, basic work[?] their whole lifetime. People don’t recognize work—my work sometimes, ‘cause one day I’ll do an abstract and the next day I’ll do a floral, uh…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>You know, I love changing from one to another.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I don’t consider, uh, abstracts any different than…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Realistic paintings. Uh, every painting starts out as an abstraction, and, uh, they’re—you know, a painting’s a painting.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh, the art world has expanded so much now that it’s gone way beyond painting. It’s in constructions and light shows and huge presentations and…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Sculptures and other things, you know? It’s very complex now, but, uh, as far as the painting world goes, uh, I was just—get energy from doing different things.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>It energizes me, and, uh, uh, I have ideas now, you know, that I could never get to…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I’m sure [<em>laughs</em>], but I’m still clipping things out of magazines that I like and, uh, just keeping stuff for…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>You know, paintings that I’m exposed to—to, uh, [inaudible] that I admire.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Um, but, um, you should talk to some of my old students that[sic]…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>They’re old like I am [<em>laughs</em>], you know, uh, and they’re having big shows.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Lot of my students, uh, went right on professional work, and work—are making prices higher—higher than mine [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, they all had their own look, eventually. That’s why I kept students so long…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Because, uh, they just wanted that assurance, and they—still got exposed to a lot of, uh, unusual approaches, but, uh, a core of about 30 students stayed with me for years.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>And, uh, I’ve done portraits with a number of my students…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>In the past. I had been commissioned to do portrait, a really lovely lady from, uh, Tavares area up there, and, uh, uh, she had me over to do a—to talk about a portrait, and she said, uh—I realized right away there was something, uh—she had a problem. She’d had a stroke, and she didn’t like the photographs that were being taken of her to present to friends and family and all that stuff. She was getting on and she was very concerned about facial, uh, problems, and, uh, she was still a beautiful lady</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But you could tell she couldn’t sit for a portrait for a long period of time, but, uh, I took some photographs of her, we had lunch a couple times and talked ,and I did a large major portrait of her, uh, that nobody would recognize</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>That there was a distortion in her face [<em>laughs</em>]. She loved it.</p>
<p><strong>Parke<br /></strong>Aw.</p>
<p><strong>McIntosh<br /></strong>And, uh, her family loved it. She wanted to leave a heritage [inaudible].</p>
<p><strong>Parke<br /></strong>Of course.</p>
<p><strong>McIntosh<br /></strong>Uh, and it was a challenge for her, because she didn’t want to be photographed, and, uh, she had dedicated caretakers and stuff—wanted a picture of her and stuff, but, uh, it happened to be quite a nice portrait</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>But I knew her for so many years…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>That I knew how to eliminate those problems, and I know her, but you don’t often get challenges like that.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>It was a major challenge for me, but in every portrait is a major challenge, because you, uh—you really want to get the essence of the person, as well as the outward visual quality of them, and, uh…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You have to get something a little deeper than…</p>
<p><strong>Parke<br /></strong>Yeah, is that kinda what you want people to get when they look at your art? That there is something—like, what do you want people to take away from your art, would you say?</p>
<p><strong>McIntosh<br /></strong>Uh, whatever they want.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Uh, I’ve been—I’ve been pleased to have, uh, letters from people that[sic] hated abstract art, and, uh, they see some of my abstracts, and they—they thank me for…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>This is possibly through my nephew, and his dental office has a number of my paintings, and…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, abstracts and realistic ones.</p>
<p><strong>Parke<br /></strong>[<em>clears throat</em>].</p>
<p><strong>McIntosh<br /></strong>And they spend time there and they see abstract there[?]. Uh, they finally say, “Well, I guess that’s alright stuff.”</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, there’s a lot of people—just close their minds to abstract and other radical approaches to art, and it’s all the same. It’s, you know—I minored in sculpture. I would just be happy as ever to go back to sculpture …</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And do nothing else, but, uh, it’s a little hard to combine the two, uh, careers, because, uh, [inaudible] sculpture is messy.</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] It’s messier than painting, and, uh, my sculpture—I had my sculpture from Michigan, uh—minored in sculpture at the University of Michigan—and, uh, my work there—the pieces went into a gallery, uh, out of town.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And the gallery owner skipped the country, sold the work, kept all the money and never paid his artists, so I [<em>laughs</em>] never got my…</p>
<p><strong>Parke<br /></strong>Oh.</p>
<p><strong>McIntosh<br /></strong>Sculpture back, and I never…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Got any money from ‘em[?], but that was a wild, uh, [<em>laughs</em>] chase there.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Uh, I’ve done murals. I did a mural at the University of Michigan that was about 60 feet long.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>And I’ve done major mu—murals. I did a major mural in a restaurant, and, you know…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Shoe store [<em>laughs</em>] or…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[inaudible], shoe store. Uh, did—I did some window display of[?] back[?], piddled in a lot of minor…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Careers. Stuff like that, uh, but, uh, it’s all tied up with art…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You know, but, uh…</p>
<p><strong>Parke<br /></strong>What do you think inspires you to create?</p>
<p><strong>McIntosh<br /></strong>What inspired me?</p>
<p><strong>Parke<br /></strong>Mmhmm, sounds like a lot of different things [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Well, my vision, I guess.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, I’m inspired by a lot of artists.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, each—each for a different reason.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh </strong>Uh, I can’t minimize that</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, I just see stuff and, uh, it excites me. I say, <em>It would be wonderful to paint that.</em></p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I still have that, uh—I’m not able to paint eight hours a day, and never did.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /> </strong>But I paint mostly in the afternoons, most of my life. Uh, do the laundry in the morning [<em>laughs</em>]…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, in my teaching career I had to teach and paint also. So, uh, when my students were finished for the week, I got my studio back…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>’Cause we both had the same studio, but, um, I—I get excited to be sitting where we are here, uh, seeing birds and animals and trees and flowers and all that stuff. Uh, I just—I just see things, and I’m, uh, fortunate in, uh—if I have photographs of things…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I can’t see again. Uh, I painted outside for years. Uh, as I got—you know, later on in my career, I did everything in the studio and worked from, uh, reference material.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, tons of reference material. Like an illustrator…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Has tons of…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Material to work from, but, uh, my paintings got large, and if you’re painting outside in the wind…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And the—you know, the painting is flopping…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In the wind, and, uh, also, uh, I find that painting outside quite often, uh—when you get the painting inside you see that the colors are difficult to…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Being out in the hot sun.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, transferring that, uh, you know—it’s not as good when you get it inside…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>So—and, uh—but I think you have to paint from life outside, and from portraits, you have to paint from life to learn how to paint without the sitter or without being in front of the subject.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Because your, uh, inventiveness comes out when you’re isolated in your studio.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>You may have started something out. I’m working on an abstract now, and, uh, just as a joke I’m—when it gets in the show, I’m gonna call it <em>Two Horses</em>, and it’s an abstract painting.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But if you’ll look—I mean, before you leave there [<em>coughs</em>]—two Chinese, wooden horses in my apartment here.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I was painting them on Cape Cod. [inaudible] was painting of both of those horses, and I just got, eh—I wasn’t getting the way I wanted to. so I started scribbling them out with other colors, and underneath is the[?] abstraction—or[?] is the painting of these two horses, but, uh, when it doesn’t work, you know it, and you say, <em>Well, I gotta go on</em>, and to paint the canvas white—to get rid of the two horses—is a shame, because there’s color there…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And there’s[sic] shapes there, and do your new painting into that, leaving some of the—you can’t recognize anything about…</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>The horses, but, uh, that’s where the painting start out.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>If it were ever, uh, X-rayed [<em>coughs</em>]—my voice is so weak from my breathing problems, uh, but I’m sure it comes out…</p>
<p><strong>Parke<br /></strong>Oh, yeah.</p>
<p><strong>McIntosh<br /></strong>In your machine.</p>
<p><strong>Parke<br /></strong>It’ll show up well.</p>
<p><strong>McIntosh<br /></strong>But, uh, [<em>clears throat</em>], uh, if they ever X-rayed [<em>laughs</em>] that painting…</p>
<p><strong>Parke<br /></strong>Then you would…</p>
<p><strong>McIntosh<br /></strong>You would see…</p>
<p><strong>Parke<br /></strong>See it [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>The horses there, and, uh—but other abstracts just paint themselves.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But, uh, once you get something down on a canvas—I don’t care what it is—just a splash of blue out—out of the blue—the—the rest of the work you’re painting into that piece—it’s a—it’s a piece of the puzzle.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>It may have nothing to do with…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>The final painting but, uh, you know, there’s a lot more in a painting than people know.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Because they don’t see the progression of it.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And that’s why, uh, it, uh—I men—wanna mention these TV shows with artists, because most artists don’t consider those people…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Artists [<em>laughs</em>]. I don’t[?]—cancel that…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Uh, but anyhow, it’s—it’s—it’s a wonderful career.</p>
<p><strong>Parke<br /></strong>Good.</p>
<p><strong>McIntosh<br /></strong>nd the—you saw some of my acting photographs there? [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>That was wonderful [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Well, done a little bit of that, but, uh…</p>
<p><strong>Varty <br /></strong>Winter Park Arts Festival also.</p>
<p><strong>Parke<br /></strong>Yeah, um, the Winter Park Arts Festival—you were kind of a founding member of that. That’s a big deal.</p>
<p><strong>McIntosh<br /></strong>Yes.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And I lived just down the street from the festival. Uh, I lived across the street from the Langford Hotel…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Which is gone now, Uh, and—and I mentioned that was my Japanese house, which was quite a—a notable thing in Winter Park, because there weren’t any Japanese houses here, and I had been to Japan, and, uh, had a house fire, and remodeled the whole place in Japanese style…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>After my visit to Japan. Anyhow, during the Art Festival years, I was walking all my materials down to the Park Avenue, and, uh, setting up in front of my…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Golden Cricket Gallery, and, uh, after two years, I realized that I’m on the street…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Trying to sell paintings, and [<em>laughs</em>] my studio is—or my gallery—was right behind me…</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And they make a commission on—on the sale of paintings, so that’s why I only did the Art Festival for…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>I don’t know—four or five years</p>
<p><strong>Parke<br /></strong>A few years?</p>
<p><strong>McIntosh<br /></strong>Uh, ‘cause I had gallery connections…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>On the Avenue, and you don’t do that. You…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Your gallery,back then, was taking 33 and a third percent.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Nowadays, [<em>clears throat</em>] it’s 50 percent, and in New York, some galleries taking[sic] 75 percent.</p>
<p><strong>Parke<br /></strong>Wow, wow.</p>
<p><strong>McIntosh<br /></strong>So the art—people don’t realize that artists that[sic] work in galleries are—are paying…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Quite a commission to galleries, especially if you get the kind of exposure that New York…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Major galleries give you, uh, but, uh, I—I—I opted out of the Art Festival, because, you know, it just was—I was competing…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>With myself [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, it was fun back in those years.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You know, because it was pretty much local, and, uh, it grew and grew and grew and grew, and now, many[?] artists go—they paint and sculpt and do their craft part of the year, and the rest of the year, they travel…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>With a show—street shows—and they have their tents and all that stuff, and that’s half of their exposures…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Possibly happen because they don’t have to pay the galleries…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You know? Uh, that’s not the only reason it’s good exposure, but, um, it’s a wonderful learning experience to…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>To have your work shown anywhere.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, you—you get comments, you get criticisms, and, uh, you get to see your own work.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>My paintings generally don’t hang around. I think I told you this before.</p>
<p><strong>Parke <br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, when I finish a painting—and through the years having gallery associations—when I think the painting’s finished, I frame it and get it to the gallery…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And I forget them, because I’m thinking of the one I’m working on.</p>
<p><strong>Parke<br /></strong>The next one [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Yeah.</p>
<p><strong>Parke<br /></strong>The upcoming one [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>The next one.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And, uh, I’ve only hung one painting, uh, of my own…</p>
<p><strong>Parke<br /></strong>Yeah, that’s what you had told me before.</p>
<p><strong>McIntosh<br /></strong>In my apartment and, uh, my house in Winter Park. Uh, it’s a very large, abstract painting, and you won’t believe this, but I don’t—I’ve never hung my own paintings.</p>
<p><strong>Parke<br /></strong>What’s the reason behind that? Do you have a reason?</p>
<p><strong>McIntosh<br /></strong>Uh, I—I wanted them to—to go to the gallery and sell.</p>
<p><strong>Parke </strong>Mmhmm.</p>
<p><strong>McIntosh </strong>And I—I’m interested in a new one. I don’t wanna…</p>
<p><strong>McIntosh </strong>Yeah.</p>
<p><strong>Parke </strong>If I kept that painting sitting around—you…</p>
<p><strong>McIntosh<br /></strong>I’d see something…</p>
<p><strong>Parke<br /></strong>You keep moving forward.</p>
<p><strong>McIntosh<br /></strong>And change either[?] this or what[?], but, uh, I just got rid of it, so I could get on with the next…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>One, and, uh, I produced a lot of work…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Over the years, but that particular painting, uh, sold to my friend’s<a title="">[2]</a> mother, and hangs in the Mayflower.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>She’s got it in her apartment. It’ll be in the show.</p>
<p><strong>Parke<br /></strong>Oh, okay.</p>
<p><strong>McIntosh<br /></strong>And just ran across a letter from Maury Hurt, who I told you is…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Part of the best artists in…</p>
<p><strong>Parke<br /></strong>Yeah [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In Winter Park and Orlando. Uh, there was a very nice, sensitive letter from him from a show that I had, uh—and that painting, he mentions specifically. [inaudible] I think I’ll have that framed…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And put it next to the painting in the show, because people know who Maury Hurt is here, and his word, uh…</p>
<p><strong>Parke<br /></strong>Is important.</p>
<p><strong>McIntosh<br /></strong>It was a compliment. It was an extreme compliment</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>But the way he worded it, it’s like an artist…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Words something. Not like a—just a casual visitor. It’s a sensitive…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Approach that he put in this letter to me. So you’ll see that letter. Here you can read it if you want, but, uh, I would be happy to keep painting…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>For the rest of my days, for the next 20 years.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, I remember seeing pictures of, uh, artists, [inaudible] not [inaudible], but, uh—I’m losing it now for a minute—but I was bedridden—he was bedridden anyhow. I can’t think of his name, and they made eight-foot brushes for him.</p>
<p><strong>Parke<br /></strong>So he could reach?</p>
<p><strong>McIntosh<br /></strong>So he could reach the canvas. That’s how artists—some artists are [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Uh, I—I could paint hundreds more pictures.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh <br /></strong>But [<em>laughs</em>], uh, [inaudible] wheel me around pretty soon.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Um, it’s been, uh, interesting talking to you, and, uh, I hope some of this stuff…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>You understand.</p>
<p><strong>Parke<br /></strong>Oh…</p>
<p><strong>McIntosh<br /></strong>[inaudible].</p>
<p><strong>Parke<br /></strong>This is wonderful.</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] Sorta different than other teachers.</p>
<p><strong>Parke<br /></strong>It’s been great talking to you.</p>
<p><strong>McIntosh<br /></strong>Especially…</p>
<p><strong>Parke<br /></strong>I feel like I’ve learned a lot.</p>
<p><strong>McIntosh<br /></strong>Good. Well…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>So you can paint now.</p>
<p><strong>Parke<br /></strong>I can.</p>
<p><strong>McIntosh<br /></strong>Yep.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>Anybody can paint.</p>
<p><strong>Parke<br /></strong>Um, can I ask you one last question?</p>
<p><strong>McIntosh<br /></strong>Sure.</p>
<p><strong>Parke<br /></strong>Um, I know that you worked at the [Albín] Polasek Museum [& Sculpture Gardens]. Did you know Albín [Polasek] and his wife, Emily [Muska Kubat Polasek]? And…</p>
<p><strong>McIntosh<br /></strong>Yes.</p>
<p><strong>Parke<br /></strong>How was that for you? How were they?</p>
<p><strong>McIntosh<br /></strong>Uh, Albín, I didn’t know that well.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, saw him just on different occasions and talked, but Emily, I knew and sat with her. Uh, she made cookies for me…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] And cookies that are from her home country<a title="">[3]</a>—very complex little cookies—and she even gave me the equipment to make them myself.</p>
<p><strong>Parke<br /></strong>Wow [<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But, uh, I—knowing Albín and being a—a sculptor myself part-time, uh—and also, my [<em>coughs</em>]—my brother-in-law, Ken Wacker, along with, uh, Rever Haines, the lawyer, were very influential in the early Polasek years.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And keeping the estate, and running the—the home [inaudible].</p>
<p><strong>Parke </strong>The institution, yeah.</p>
<p><strong>McIntosh </strong>And—and working on its future…</p>
<p><strong>Parke </strong>Mmhmm.</p>
<p><strong>McIntosh </strong>Uh, through Albín when he was alive, and then very, very kindly through Emily, because, uh, she was left, but they—they were extremely influential in the early years, and, uh, I was Artistic Consultant for the museum for five years.</p>
<p><strong>Parke </strong>Wow.</p>
<p><strong>McIntosh<br /></strong>nd, uh, I actually climbed up on the huge painting of the <em>Man Carving His Own Destiny</em>…</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>And I was cleaning that and doing that[?]. I also knew, uh, so much about what Albín would—would have liked.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, and that’s a, uh, very sensitive thing, because, uh, you’re put with responsibility when an artist is gone, and, uh, he specifically had feelings—different feelings—about his work that I could see.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, I restored things, uh, that I discovered that he had done.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Uh, and I realized how, uh, religious a man he was.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Totally dedicated to his religion,<a title="">[4]</a> and then my partner and I, uh, designed, uh, the wall in front of the museum and the gates that…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Go in, and, uh, Eric Varty, uh, did the chapel—over the ceiling of the chapel—uh, and I had, uh the paintings of the Stations of the Cross framed and redone, because they were actually rotting out in…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>That damp studio, and, uh, I did a patina—a painted patina—on all of the—the Stations of the Cross were do—done in plaster.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And they were white, and I first saw them stacked somewhere, and I convinced my brother-in-law…</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>That they should be put on a wall, and they built this wall and installed these plasters on the wall—life-size from the original. I painted them and painted a patina, which is done to age the…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>o, uh, fake the age of a—of a bronze piece.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And I did that, uh, on all the statues.</p>
<p><strong>Parke<br /></strong>That’s amazing.</p>
<p><strong>McIntosh<br /></strong>Uh, those stations, and, uh, they were later, uh, reproduced by another artist for a client, and they came down, and now they’re having some of them cast</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Some of them are still plaster, but, uh, it just, uh—that portrait of, uh, Albín [<em>clears throat</em>] that hangs in the museum was done, uh, by Charles Hawthorne.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>A beautiful portrait was over the mantle. I don’t know where it is now, uh, but Charles Hawthorne was a Cape Cod painter</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And my teacher, Jerry Farnsworth, and his wife, Helen Sawyer—both famous painters—studied with Hawthorne.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>So, uh, coincidence to…</p>
<p><strong>Parke<br /></strong>I was going to say that…</p>
<p><strong>McIntosh<br /></strong>To…</p>
<p><strong>Parke<br /></strong>That’s a huge coincidence.</p>
<p><strong>McIntosh<br /></strong>I didn’t know Hawthorne, but, uh, Hawthorne’s a fabulous, fabulous…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, painter of figure—of the figure. Uh, Cape Cod has—museum has wonderful work…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Of his in Provincetown, but he taught in Provincetown, uh, in the open air, had models out by the beach.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>There are old photographs of my teachers at their easel…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>With him teaching with, uh, Provincetown…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Harbor in the background, and[?]…</p>
<p><strong>Parke<br /></strong>And he just so happened—just so happened to paint Albín too.</p>
<p><strong>McIntosh<br /></strong>Well, I just—I don’t know how they commissioned it—how they found this fabulous painter to do Albín—but Albín must have known his work…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, because that is a great portrait.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, but it’s a small world, you know?</p>
<p><strong>Parke<br /></strong>That’s crazy.</p>
<p><strong>McIntosh<br /></strong>Uh, and late in years that I, you know—way back, when I [inaudible] knew Albín briefly, uh, I met another sculptor—a major sculptor—Mahonri [Macintosh] Young, the grandson of Brigham Young. I was in his studio and I forgot where it was…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>But I was invited somehow to get into his studio.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And there was this huge portrait of a seated gentleman, and it was like about 25 feet tall, you know, in his studio in—in clay.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>It was going to be cast, and, uh, as a young student and learner, [<em>laughs</em>] I was so impressed seeing the scale of that work, uh, and, uh, he said, “Oh,” uh, you know, “this is gonna be cast.” He said, “I’m sorry you weren’t here when I was working on the 80 foot—180 foot tall piece,” in…</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In back[?]—it was—took a whole train…</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>To take this sculpture…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>To, uh, the—where the [inaudible]—Mormons in—in, uh—where—where are all the Mormons at?</p>
<p><strong>Parke<br /></strong>In Utah.</p>
<p><strong>McIntosh<br /></strong>In Utah.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>And it’s a gigantic, uh, statue with dozens of figures on it. Uh, I had no idea the height of it, but it’s a major…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Piece, and, uh, uh, to see stuff in the studio that’s going to go to the foundry, you know, eventually, and just—I’ve been very lucky to have those visits.</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And I had private visits with one of the top American architects, uh, Philip [Cortelyou] Johnson. The famous Glass House<a title="">[5]</a> in—in [New Canaan,] Connecticut…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, was a famous American, uh, accomplishment for—he’s—he’s passed away now, but I was—had private visit with him with, uh, another architect friend of mine to see this Glass House in person…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And to meet him, and, uh, I’ve just been very lucky to have exposure to…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>Some very great people, and anyone who knows architecture knows—knows, you know, Phillip Johnson, right up there with the top architects in—in the world, but, uh, his house was fabulous.</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>It’s in the woods, basically, and it has no light fixtures…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>In the house at all. The, uh—all the walls are glass all the way around, and the house is lighted by lights outside in the trees that you can’t see.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And on a rheostat[?], those lights can be turned on, so you can read in the house, and you never see a lamp or anything.</p>
<p><strong>Parke<br /></strong>That’s amazing.</p>
<p><strong>McIntosh<br /></strong>It’s an amazing house. You’ll…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>You’ll see it…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>In a book, uh, and…</p>
<p><strong>Varty<br /></strong>There’s also your involvement with, uh, Maitland Art Center and [Jules] Andre Smith.</p>
<p><strong>McIntosh<br /></strong>Well, I can’t talk forever.</p>
<p><strong>Varty<br /></strong>That’s a good story.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>[<em>laughs</em>] She’s gonna run out of juice [<em>laughs</em>].</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>] I was going to say, I can come back another day…</p>
<p><strong>McIntosh<br /></strong>Oh.</p>
<p><strong>Parke <br /></strong>And we can talk about a lot more stuff too.</p>
<p><strong>McIntosh<br /></strong>Well, that’s a—quite a good story for you—my association with, uh, [J.] Andre Smith.</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>At the Maitland Art Center.</p>
<p><strong>Parke<br /></strong>That’s kinda where you got your, like—kinda your main start here, right? In Florida? Is that where you kinda began?</p>
<p><strong>McIntosh<br /></strong>Uh, well, I began…</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>] Many years before…</p>
<p><strong>McIntosh<br /></strong>Many years before.</p>
<p><strong>Parke<br /></strong>But [<em>laughs</em>]…</p>
<p><strong>Varty<br /></strong>High school.</p>
<p><strong>McIntosh<br /></strong>But the, uh—my association with Andre Smith is worth a—another little time…</p>
<p><strong>Parke<br /></strong>Okay.</p>
<p><strong>McIntosh<br /></strong>And you’ve got plenty of…</p>
<p><strong>Parke<br /></strong>Got a lot of stuff.</p>
<p><strong>McIntosh<br /></strong>Yeah, but, uh, I was very close to Andre Smith, and I happened to be the only living, uh, Bok Fellow.</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, I was, uh, at—invited to live there, and I had my own studio there three different years.</p>
<p><strong>Parke<br /></strong>Wow.</p>
<p><strong>McIntosh<br /></strong>Different times…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Before I went in the service and came out of the service, and I was very close to Andre Smith. It was called the [Maitland] Research Studio…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Then, and the—the artists that[sic] were invited there, uh, found and all financed by Mary [Louise] Curtis Bok<a title="">[6]</a>…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Of Bok Tower [Gardens]<a title="">[7]</a>…</p>
<p><strong>Parke<br /></strong>Yeah.</p>
<p><strong>McIntosh<br /></strong>In [Lake Wales,] Florida. They were all older artists, and I was the only—I was 18.</p>
<p><strong>Parke<br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>You know?</p>
<p><strong>Parke<br /></strong>You were a baby still.</p>
<p><strong>McIntosh<br /></strong>Well, yeah, I was, ‘cause[?] compared to them, they were all well-known</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>And, uh, uh, I became very friendly with, uh, the brother of Maurice [Brazil] Prendergast who’s…</p>
<p><strong>Parke<br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>A famous, well-known painter—American, uh—well, landscapes, figures…</p>
<p><strong>Parke <br /></strong>Mmhmm.</p>
<p><strong>McIntosh<br /></strong>Uh, but the brother—brother was at the, uh, Research Studio, at that time [<em>clears throat</em>]—Charles, uh, Prendergast—and, uh—well, that’s another story.</p>
<p><strong>Parke <br /></strong>[<em>laughs</em>].</p>
<p><strong>McIntosh<br /></strong>I’m getting [inaudible]. My voice is wearing.</p>
<p><strong>Parke <br /></strong>Yeah—no.</p>
<p><strong>McIntosh<br /></strong>Uh…</p>
<p><strong>Parke<br /></strong>We’ve got a lot of stuff, so thank you so much for talking with me.</p>
<p><strong>McIntosh<br /></strong>Oh, it was my pleasure.</p>
<p><strong>Parke<br /></strong>And I know—I’m sure we’ll talk again soon.</p>
<p><strong>McIntosh<br /></strong>Yeah…</p>
<p><strong>Parke<br /></strong>Thank you.</p>
<p><strong>McIntosh<br /></strong>And I—I gotta show you those two horses inside [<em>laughs</em>].</p>
<p><strong>Parke <br /></strong>Oh, I’m very excited about it [<em>laughs</em>].</p>
<div><br /><div>
<p><a title="">[1]</a> Josephine “Jo” Verstille Nivision Hopper.</p>
</div>
<div>
<p><a title="">[2]</a> Eric Varty.</p>
</div>
<div>
<p><a title="">[3]</a> Kubat was born in Prague, Czechoslovakia (present-day Czech Republic).</p>
</div>
<div>
<p><a title="">[4]</a> Roman Catholicism.</p>
</div>
<div>
<p><a title="">[5]</a> Also known as the Johnson House.</p>
</div>
<div>
<p><a title="">[6]</a> Later known as Mary Louise Curtis Bok Zimbalist.</p>
</div>
<div>
<p><a title="">[7]</a> Also known as Bok Mountain Lake Sanctuary and Singing Tower.</p>
</div>
</div>
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