A week before I visited the National Gallery’s new Andrew Wyeth retrospective, I had gotten my hands on Tom Montag’s new In This Place: Selected Poems 1982 – 2013. In This Place is a retrospective of sorts, too, though by a man who is sometimes called a “minor regional poet.” Montag’s regionalism, though, is like Wyeth’s – a particular window on human conditions and feelings. I thought of Montag’s poetry often while walking through the show.
Andrew Wyeth: Looking Out, Looking In concentrates on Wyeth’s windows, and most of the show’s studies and paintings are of windows from only two houses, the Kuerner Farm in Pennsylvania and the Olson House in Maine. The inexhaustible subject matter Wyeth finds in two houses reminded me of the cover photograph of In This Place: the front of “the big red house” where Montag and his wife Mary have lived for upwards of forty years in their Wisconsin farming village. Like Wyeth, Montag finds unlimited inspiration from a handful of things within a fixed geographic radius. He has written over a thousand pages of observations, for instance, for his blog, The Middlewesterner, just from things he observed during his daily drives to and from work.
Five years after Wyeth’s death, the NGA show asks, have we begun to see beyond his realism and beyond his insistence on a limited, regional subject matter? Part of the narrative of Wyeth’s show is the universalism in his regionalism as well as the renewed critical appreciation for the “detachment and nonbeing” undergirding Wyeth’s realism, as Charles Brock puts it his essay “Through a Glass: Windows in the Art of Wyeth, Sheeler, and Hopper” appearing in the show’s catalog (66). I hope In This Place generates a similar appreciation for the universalism and detachment in the corpus of Montag’s poetry.
The partly negative connotation of “regional” persists, of course, and Wyeth would have sympathized with Montag becoming known as a regional poet. In her essay “Wind from the Sea: Painting Truth beneath the Facts,” also published in the show’s catalog, Nancy K. Anderson quotes Wyeth as saying, “People like to say Robert Frost is a bucolic poet. Just as people say I’m a painter of rustic scenes – that has nothing to do with it!” (26). Wyeth and Frost were great artists, Anderson contends, not because they were regionalists, though they were, but because they effectively used the natural world to suggest significant feelings and thoughts that moved their audiences. Explaining the name of the Wyeth retrospective, Anderson writes that, as “a keen observer of the natural world, [Frost, like Wyeth,] used exterior prompts for interior purposes – looking out triggered looking in.” The same is true of Montag.