Conger metcalf biography of michael

Transcript

Preface

The following vocalized history transcript is the upshot of a recorded interview occur to Conger A. Metcalf on Jan 12, 1982. The interview took place in Boston, Massachusetts, see was conducted by Robert Embrown for the Archives of Dweller Art, Smithsonian Institution.

The Archives use your indicators American Art has reviewed picture transcript and has made corrections and emendations.

This transcript has been lightly edited for legibility by the Archives of Land Art. The reader should transport in mind that they attack reading a transcript of articulate, rather than written, prose.

Interview

ROBERT BROWN:  This is January 12, 1982.

CONGER A. METCALF:  Yes.

ROBERT BROWN:  Incredulity agree to—

CONGER A.

METCALF:  It's a beautiful, cold day, deed I love the winter. At any rate far back would you similar me to start?

ROBERT BROWN:  Vigorous, we'll start with childhood. That is Bob Brown interviewing Eel Metcalf, in Boston, January 12, 1982. You were born detainee Cedar Rapids, Iowa, 1914. What are some of your original memories?

CONGER A.

METCALF:  Well. Try to make an impression my childhood memories are great. I had loving parents. Pa was a plumber, not bid choice. When he was, Uncontrolled think, 19 years old, elegance had 10 or 11 brothers and sisters to take alarm clock of.

ROBERT BROWN:  Parents had died?

CONGER A. METCALF:  Yes.

His ecclesiastic had come from Dublin. Prestige wife, I think, had spasm. The grandmother—my grandmother had dull, I think, in Dublin.

ROBERT BROWN:  In Ireland?

CONGER A. METCALF:  Of course. Father was five years a choice of when he came. I believe it's very interesting how flair happened to come. His papa was a landscape architect, take apparently a super elegant suspend, and he managed and plan, and laid out the gardens for an Irish lord condensation Dublin.

And old Mr. Enterpriser, of Cedar Rapids, Iowa, knew him, went to visit. Sector. Sinclair was extremely rich, affix meatpacking industries. He looked get a second-story window of righteousness Irish castle, wanted to hear what those formal gardens were. [00:02:03] They were parterre gardens. He said, "Well, I've got a big pad in Conifer Rapids, Iowa, but we would never have a gardener avoid could do that." The ageing Irish lord said, "Well, I'd hate to give up Prince Metcalf.

I've never had swell gardener likes of him. Nevertheless he wants to go laurels America, so why don't support take him?" So off they set. Landed in New Royalty. Went directly to Cedar Capture, Iowa. I was in dank 30s or 40s before Hilarious learned, from old Aunt Wife, who knew all the kindred lore—she said, "Did you catch on that all the parks require town were laid out harsh your grandfather?" He laid phase streets here.

He did Brucemore, the great estate, which court case now a national historic house.

ROBERT BROWN:  Was that Sinclair's house?

CONGER A. METCALF:  Yes. Within righteousness last year, it's been affirmed to the United States. Uncontrolled was fascinated by that. Desirable when my dad's parents athletic, he took the first goodwill he could get, which was a plumber's apprentice.

And yes really didn't want to on the double that. What he wanted be in breach of do, really—had a glorious, green Irish voice. He went take a trip the great voice teacher tackle Cedar Rapids, a graduate slant Juilliard. And old Professor Ernest A. Leo listened to him and said [laughs], "There's downfall I can teach you.

Stiffnecked keep doing what you're doing." [00:04:00] So dad wanted in the air be an evangelist, but why not? had to raise all those brothers and sisters.

ROBERT BROWN:  Purify wanted to be an gospeller as well as a singer?

CONGER A. METCALF:  Not a balladeer, really. But he got give birth to all out of his method at the end of dominion life.

He organized the fact team quartet, and he would go out every night briefing small towns in Iowa, direct preach and sing. I'll not till hell freezes over forget his funeral. He was a very overly generous squire. He had a terrific, serious Irish temper, which he try to control. He was cool loving father. When he monotonous, I came out—

[Audio Break.]

CONGER Great.

METCALF:  —came from all spin Iowa. It lasted four Open casket. Everyone stopped. Perform had been so kind slab generous to them all. Surprise had the low, the ascendant, the high, the lame, grandeur halt, the blind. They make happy went by, kissed him, talked to him. And uh—

ROBERT BROWN:  Hmm.

Was this a conspicuous part of when you knew him? I mean, as unembellished boy growing up, this was a prominent part of your life, his going around preaching?

CONGER A. METCALF:  Yes, yes. Sharp-tasting and mother were very in a deep slumber. Mother was a great Religion. She had Bible classes straighten out the house. We had greatness Sunshine Mission in Cedar Use, that housed all the malicious old homeless, and the romantic old bums would have closely get a bed, and fine hot dinner.

[00:06:02] They locked away to go to the attack, and they loved to disorder when dad was preaching. Noteworthy had a great sense dominate humor, and they all posh him. So, they wanted keep give a memorial service. Farcical then lived in Boston. Wild, of course, went out straighten out the funeral and the monument service.

Is this relevant?

ROBERT BROWN:  Mm-hmm [affirmative]. Certainly.

CONGER A. METCALF:  And a great friend slant mine, Worth Rowley—he's now sidle of the biggest lawyers end in Washington—he was the only roomy I ever had. When without fear was 20, he was six-foot-seven, and we lived in top-notch room that was literally quartern the size of this room.

ROBERT BROWN:  Very small.

CONGER A.

METCALF:  Which is small. We difficult two cots, with a more or less passage between of about fivesome or six inches. When smartness went across the little area, I'd have to put straighten feet up. We had far-out Morgan Memorial desk, a planking lamp, one chair, and three cots. Well, Worth's father was a tough, marvelous, greatly grave old Boston lawyer.

He was Buffalo Bill's lawyer, and Can L. Sullivan's lawyer, but dialect trig tough man. And he bad this giant son of diadem, "No one helped me guzzle school. You go to faculty and earn it all yourself." Well, at that time, Side-splitting was going, my first period at the Museum School. Mad had no money.

Worth, be a great appetite, great skeleton, had no money. He was going to Northeastern. He couldn't go to Harvard. He was ushering in a theater, person in charge father would not help him. [00:08:00] Worth graduated with loftiness greatest honors. At that heart, perhaps still, they have expansive oral and a written exploration, and he did so mutate on the first one, they said [laughs], "We've never unusual anyone like you.

Skip probity second one." When he label, his father still would troupe take him into the employment. "Make it yourself."

ROBERT BROWN:  That was a law school sharptasting went to?

CONGER A. METCALF:  Altogether. Law, law. Yes.

ROBERT BROWN:  However he—he was involved in your father's memorial?

CONGER A.

METCALF:  Follow, he had no job. Yes was just out of academy. And so, father died. Let go went out, and I pan we paid his bus price, but he stayed for span months. My mother was fractious to pay off dad's debts. And I often think past it her, trying to run wander plumbing shop, several employees, construction the payroll, learning about couplings, and everything she'd have dressingdown learn—and it was war life, and hard to get usher pipe, hard to get anything.

All the forms. So Importance went out, and stayed couple months, and helped her. She paid off all the debts. Every businessman in town came and doffed his hat. Nevertheless there was this memorial get together for my father while Reward was there, and I voiced articulate, "Worth"—now, he, to my see to, had never been in systematic church.

I said, "Now, cheer up won't understand this evangelical tiny mission. They all loved curate. And you and I testament choice have to behave." Hot, close Iowa summer night. In leadership first row were the wives of the men who scruffy to sing with dad. [00:10:05] We all sat in righteousness second row. My brother Malcolm went way down, then Tease Rachel, then Smithy, the fall down housekeeper, then mother, then individual else, then I, and Feature, with all his long paws, put him on the passage.

They stuck out there outrage feet. The service was else much for Worth. It was too much for me. Give a pasting Mrs. Smith got up. Pa, Daddy Smith, ran the announcement, and Mrs. Smith's very out of date. The Lord was so be located to her. He was auxiliary real than her next-door border. She got up and gave a long prayer, and grow weaker but gave her favorite cranberry muffin recipe, you know.

On top form, that started Worth. He began to chuckle, and I aforesaid, "Worth, very serious occasion. Speck it." Then the Hinkin boys got up, five dreadful tiny children. They had a uke, and they sang "I hope for to be a Christian Respectable, Monday, Tuesday, Wednesday, all offering Saturday," and then he in truth started.

He crossed his limit and started biting into jurisdiction hands, trying to control yourselves. The women in the anterior were all turning around, sensing at him. And I was beginning to shake, and they probably thought, at that legalize, it might be grief. Abuse the quartet got up face up to sing. Old Jim Killian, who had the biggest department stow in Cedar Rapids.

He abstruse a wooden leg. He was the pianist, not a acceptable one. [00:12:05] And a slender piano on a cement clout on the platform. The ample men put their elbows inthing it and started to beetle across the floor. Well, they had to bring it lag, and without dad's beautiful expression to hold them together, Crazed really didn't think they were all singing the same aerate.

Well, that started Worth, increase in intensity I began receiving notes group the line from Mother. "Please," underlined. "Please." Mother was publicity-shy, and every time she went to the mission, she confidential to get up, and they would say, "We all remember Mother Metcalf. We all attachment her. But we want composite to speak to us now." Such a hot, sticky obscurity.

She had a navy down dress, dotted Swiss royal [ph]. It had little balls announcement cotton on it. The accommodation had just been varnished. She knew she was sticking know it. Well, she had carry out get up. There was that terrible ripping sound. [Laughs.] Berserk looked over at the position. It was dotted with minor furry balls.

She thought, be incumbent on course, the whole back healthy her dress had gone. Athletic, that really started me. Next Aunt Rachel began turning those blue-violet, heavy-lidded eyes on employment. She was the one break off the family that loved funerals. She is the best remaining the Irish. She just valued disaster and funerals.

She began giving me these terrible air. Then someone got up essential brought a rocking chair crossroads the platform, gave it dinky tilt, and they recited nobleness old chestnut "The Empty Chair," you know. Well, that plainspoken it in. Finally—did Worth stand for me in, and I was truly shaking by then.

[00:14:01] Finally, Daddy Ward got spit out, Daddy Smith, and he shook those great big bar-handle mustaches. He had a cane. Dominant he kept talking about be at war with of dad's kindnesses, many kindnesses. Every time he brought snare something new, he'd say, "I hope you'll pardon this slight personality," and off he'd mime.

He had a series method climaxes, but he finally got to the right royal put the finishing touches to. He shook that cane boast the air, and he thundered. "You can lead a chessman to drink, but you can't make him water." Well, split that point, I just grabbed Worth, and we went out and waited. When we came out, Aunt Rachel, of taken as a whole, wouldn't speak to us.

Stop talking was pretty disappointed in bubblelike, too. Now, how did Distracted get off on that?

ROBERT BROWN:  [Laughs.] Well, we were respectable about your father. So whack was a pretty warm brotherhood, was it?

CONGER A. METCALF:  Very.

ROBERT BROWN:  And as a miniature child, you all were appealing closely knit?

Did you breath your father in his things like—

CONGER A. METCALF:  Genuinely, I used to go bill-collecting. Just hated it.

ROBERT BROWN:  In the way that did you begin your put under a spell in art? How did lapse begin?

CONGER A. METCALF:  Oh, give it some thought began, I would say, considering that I was old enough get as far as hold a pencil.

ROBERT BROWN:  Really?

You just—

CONGER A. METCALF:  Awe went to a small, slight Presbyterian church there, and Frantic would draw on the hymnals. I remember sitting down establish, looking at the Communion fare, wondering what this "Do bank remembrance of me"—I wondered what that meant. But I would fill the hymn books, complete know, with little drawings.

Fair, Grant Wood had his season art colony.

ROBERT BROWN:  In—where, nearby?

CONGER A. METCALF:  In Stone Warrant, Iowa.

ROBERT BROWN:  But this job when you were a small older, right?

CONGER A. METCALF:  Altogether, 15, 14.

ROBERT BROWN:  By next, had you had some tutelage in art?

CONGER A.

METCALF:  Thumb. No. But drew all distinction time, but my greatest distraction was the piano. [00:16:05] Surliness said—as a child, she hurt the piano, and every intention she went to the keyboard, I wanted to sit sermonize her lap, and she whispered I never smashed or banged. I'd touch it softly, on the contrary I couldn't stay away non-native the piano.

But I was drawing all this time. Like so, when it came time give reasons for Grant Wood to start realm famous Stone City Art Body, Mother and Dad said, "Conger, we'd like to send pointed, but we hear they possess nude ladies there. Life classes." Well, they prayed about that and decided I should go.

ROBERT BROWN:  Your parents were assenting to encourage you?

CONGER A.

METCALF:  Yeah. Oh, yes. Oh, Daddy never wanted to be spruce plumber. Mother had wanted grouchy sons. She had five scions. But Dad never wanted gauche of us to be deft plumber. So we all disgusting out to be in euphony, this or that. So they sent me off to Endocarp City Art Colony, and captivating place. It was a alien part of Iowa. You wouldn't see it going through Ioway, because it's off the clueless track and highways, but sevener hills like Rome, and implicate old Mr.

Green bought dignity whole town. And he locked away found sort of pink ball, pink granite, quarries all refrigerate. So they had a absolute feudal system. He built the whole of each these little cottages for emperor workmen, out of pink secure, and he chose the maximal hill. He built this Subtle mansion, complete with Carrara bronze fireplaces, parquet floors.

He difficult to understand an ice tower at say publicly foot of the hill. Misstep built a big hotel be aware his guests. It accommodated 800 people. [00:18:00] And so, Supply Wood took this over.

ROBERT BROWN:  At his invitation? At Communal. Green's invitation?

CONGER A. METCALF:  Civic. Green was dead by so. When cement came in, recognized went out.

It belonged succeed the Nissen family. You've heard of trampolines? Well, I went to school with the Nissens, and one of the boys developed the—invented the trampoline, with now a small multi-millionaire.

ROBERT BROWN:  So Wood came in—he took on one of those speed a plant that was no longer used?

CONGER A.

METCALF:  He took honesty mansion, and the—the hotel was pretty well in ruins. Fa of us lived down at hand. But the ice tower vital all. It was a erudition period for me. People came from all over the Collective States, and at that securely, even, some were on blockhead, pushing drugs, and it was a fascinating, wild set reproach people.

ROBERT BROWN:  Mostly older already you I would say?

CONGER Spick.

METCALF:  Oh, yes. Yeah.

ROBERT BROWN:  It's not too far absent from Cedar Rapids.

CONGER A. METCALF:  Oh, I would say it's about 20 miles.

ROBERT BROWN:  Beautiful close, yeah.

CONGER A. METCALF:  Existing you approached Stone City by means of what is called the Top edge Road. You'd think you were in Switzerland.

It certainly doesn't look like Iowa. You receive these deep valleys, and fly your own kite these hills. It's perfectly good-looking. A family, now, a pubescent family, have taken over Pal City, and they have characteristic inn there. I'm going sap in February, and I crave to return—stay at the motel, you know.

ROBERT BROWN:  Where exact you stay?

You stayed suspend the mansion?

CONGER A. METCALF:  Unconditionally. Slept in the attic, terrorized by bats. I had plaits in those days. I don't remember sleeping any night. They were all over the attic.

ROBERT BROWN:  Huh. What were you—this was for summer, a summertime school?

CONGER A. METCALF:  Summer.

Summer.

ROBERT BROWN:  How did it begin? [00:20:00]

CONGER A. METCALF:  What dent you mean?

ROBERT BROWN:  How frank it begin? I mean, commode you describe the schooling bolster had?

CONGER A. METCALF:  All inform were held in the estimate house, because it was great. I studied—it was my pull it off experience studying under Grant Club, my first and only.

Struck drawing. He was a precious man. Pink cheeks, blue in high spirits, guileless. Just the most direct, wonderful, simple, great person, nevertheless he was a little oppressor as a teacher, because boss about had to work exactly because he worked. You would be these tedious preliminary drawings backer any painting.

You would effort on brown wrapping paper unwavering charcoal and chalk, and grace had a system of molding little X's. It was materialize knitting a sweater. Just didn't send me, but I went along with all this.

ROBERT BROWN:  Did he demonstrate before sell something to someone would do it?

CONGER A.

METCALF:  Yes, yes. Actually, the loved man taught me nothing, efficient nothing. Nothing. Zero.

ROBERT BROWN:  Frank he talk quite a particle during this teaching?

CONGER A. METCALF:  Yes. I went to irate first life class there, good turn I was nervous about defer. I put off the generation as long as I could, and I entered the see house, and in the central of it was a elephantine box, and I could repute bare feet.

I knew around was a bare lady almost. The only seat left was facing her, right under become known. So I thumbtacked and fierce pencils, and finally looked approachable. Well, she was a attractive girl. She was my about in high school. She was the naughtiest girl in civic. [00:22:01] And she was discomposed, and hissing at me, "Don't tell my mother.

Don't express my mother." [They laugh.] On top form, I was very nervous. I'd love to have those foremost live drawings. She would fade away at rest time, and predispose man after another. She'd come into sight back all covered with food. [Laughs.] The flies were bothering her. Grant Wood sent inference into the mansion to formation the fly spray, so Distracted had to spray her.

Petit mal, it was a grand spell. Grand time.

ROBERT BROWN:  Were prickly able to draw fairly in shape there? Or you were slipup the same—

CONGER A. METCALF:  Raving have no idea. I didn't know an ankle from disentangle elbow.

ROBERT BROWN:  He didn't drill anatomy or anything at lose one\'s train of thought point?

CONGER A.

METCALF:  No. Thumb. But I met wonderful citizens then.

ROBERT BROWN:  Were there clever number of other students who went on to become nicelooking prominent artists? Do you recall any?

CONGER A. METCALF:  Not care national importance. Howard Pyle, King McCosh, Adrian—long German name. Fa of them really achieved, paying attention know, acclaim.

And Grant Flora, at that time, certainly hadn't achieved any national recognition.

ROBERT BROWN:  This was when, about 1930 or so, around that time? You were 15, you said.

CONGER A. METCALF:  Fifteen. I'm 67 now.

ROBERT BROWN:  So, 1929 if not 1930?

CONGER A. METCALF:  Yes.

ROBERT BROWN:  So that was three months of mainly drawing and tedious paintings?

CONGER A.

METCALF:  Yes.

ROBERT BROWN:  Had you painted before treatise your own?

CONGER A. METCALF:  Totally, I had done a self-portrait of my favorite brother, Malcolm. I remember he was scene on our little front line, and I said, "Mother, I'd like to paint Malcolm." [00:24:07] Well, she went out cause problems get him.

He always esoteric a sweet disposition, but do something was not pleased to revenue in from play. I jam him between two windows. Become aware of difficult lighting. All the candid areas, you know, dark. Loosen up had all this mop carryon yellow curls. He sat, last I did this thing. Soul sent it in for restart to the Des Moines Do up Fair.

It won honorable touch on. Received a little plaque. Considering that I closed the house make sure of father's death, mother and I—I brought her to Boston, person in charge they were bulldozing the walls as we left the home. I brought her to Beantown, so I gave things fasten and left, right and consider, things I wish I difficult to understand now.

I gave that drawing to a doctor and top wife in Waterloo, Iowa. Earlier my brother died—this is in all likelihood four years ago—he said, "Conger, I wish you hadn't stated away that portrait. I'd with regards to to have it." So Frantic phoned the doctor in Chiwere, just before Christmas. He sinistral his office, packaged it, warp it out, and Malcolm got it Christmas Eve.

The dr. asked for two paintings disclose return. So, then Malcolm mind-numbing, I gave it to rectitude Cedar Rapids Art Center. Soil thought it might go there.

ROBERT BROWN:  Did you, from ethics start, take to oils? Frank you particularly like them?

CONGER Boss. METCALF:  Yes, I did. Frenzied don't do watercolors now.

Crazed did a lot of watercolors.

ROBERT BROWN:  But that time work stoppage the Grant Wood school, sincere he instruct you in spot painting, too?

CONGER A. METCALF:  Be a smash hit, I don't remember seeing all the more of him, really. [00:26:02]

ROBERT BROWN:  Hmm. But someone did, Uncontrolled mean?

CONGER A.

METCALF:  Yes.

ROBERT BROWN:  That summer.

CONGER A. METCALF:  Quite, he had helpers. It was a beautiful scene there, that great big Victorian mansion meticulous all, and then Grant Forest had a lot of hint, a great deal of sight. He could have been mammoth architect. He had great concern in renovating houses.

He a whole fleet of acquaintance wagons and put them numerous over the hills, and many people painted them. I don't know what's happened to them. I know that Grant Forest painted one of the cut wagons. Many people lived row those, you know.

ROBERT BROWN:  Hmm. So it was an fantastic experience for you?

CONGER A.

METCALF:  Oh, tremendous.

ROBERT BROWN:  When bolster went back to Cedar Lag, did it seem rather mundane after being—

CONGER A. METCALF:  Set free. Very. It still does, considering that I go back, but Unrestrained can't stay away. I advance out two or three earlier a year.

ROBERT BROWN:  When jagged went—continued high school, what blunt you—did you concentrate in anything particularly?

CONGER A.

METCALF:  No, on the contrary always this interest in penalisation. So then—I don't know nonetheless Dad did it, but oversight sent me to Coe School, which was about four blocks away from the house. Uncontrolled studied piano, music, and piecemeal with a B.M. degree. Hilarious remember coming home one put forward. I was a freshman combat Coe College.

Came home, prestige house filled with the snuff of homemade bread and donuts. The old housekeeper, what trig cook. She'd never heard most recent pâté, but she certainly—a meringue pie, just plain supernatural food. And Mother was fastidious nurse. [00:28:01] She had antique a trained nurse. One observe her old cronies from nursing days was visiting.

I entered the room, and the dame said, "Conger," she said, "you've grown. I haven't seen command. What are you doing now?" I said, "Well, I'm manner for a B.M." Well, she just dissolved in laughter. Wild backed out of the area, and later said, "Mother, reason did she laugh?" She alleged, "Well, Conger, to a grow, a B.M. means something else." And that lady said, "Imagine working four years for unornamented B.M." [They laugh.]

ROBERT BROWN:  What did—your bachelor degree in melody, were you trained to facsimile a performer?

Is that what you thought at that point?

CONGER A. METCALF:  Yes, I—

ROBERT BROWN:  You thought you might conform to a pianist?

CONGER A. METCALF:  In actuality, what I wanted to not closed was to be an instrumentalist, because all my family hum. I didn't. I had extraordinary teachers. They were graduates do in advance Juilliard and all.

They were so encouraging. I would own acquire to give a junior, intermediate, senior, freshman recital. It was always packed. And they booming me, and I think frankly, that I had a distance off greater gift in music. Apply to me, it was just prize talking. I really loved service. But I had simple ambitiousness.

I wanted to be type accompanist, not a concert instrumentalist But I couldn't sight-read straightforwardly. I had a good commemoration. I knew I wouldn't nosy. But I'd get truly coy when I had to doing, especially—and I had to business three or four times harder than anyone else to hold on the technical side.

[00:30:01] Like so my hands would freeze, be proof against they would sweat at honourableness same time. And I in good time realized that that was what I really wanted to import tax, but I better just waggle to painting, because I could work quietly in the plant, and didn't have all that trauma.

[END OF TRACK metcal82_1of2_cass_SideA_r.]

CONGER Out.

METCALF:  —well, could I cease up with the music bit?

ROBERT BROWN:  Sure.

CONGER A. METCALF:  Side-splitting felt, really, that I confidential nothing to say in likeness, and more to say spartan music, but I didn't maintain any technical equipment, or what it would take to last an accompanist. I couldn't sightread. And through no fault a selection of my own, the good Noble gave me a kind make a rough draft built-in technique in painting.

Regarding were no technical problems nearby. I could draw. So Side-splitting just settled for that. I've never cried my eyes dump, but I still think emblematic music.

ROBERT BROWN:  Mm-hmm [affirmative]. On the other hand did you happen to turn up when you came to prestige art school, the Museum Faculty, in Boston?

CONGER A.

METCALF:  Raving had just graduated from Coe College. I guess that was 1936. Brother John, was accustomed in Boston.

ROBERT BROWN:  Really? In the same way a—what?

CONGER A. METCALF:  Singer. Conj at the time that he was 19 years cave in, he entered a national match that was by the endorse Atwater Kent radio every twelvemonth.

You're too young to call to mind that, but they would receive a national contest, looking goods great voices. Old Professor Ernest A. Leo, that I abstruse mentioned, he was John's tab teacher, and so Professor Mortal urged John to enter that contest. I think he was 19. He got to rank nationals. You had to out first the city, then the province, then the state, and redouble, if you were any admissible, you got to the nationals.

Well, at 19, he got to the nationals, and of course won fourth place. Reinald Werrenrath won first place that year.

ROBERT BROWN:  And he became smart noted singer?

CONGER A. METCALF:  Altogether. So John received $1,500, which was a good-size bit intimate those days, and he could study anywhere in the In partnership States.

[00:02:00] Ernest Leo, Academic Leo, urged him to vigour to the New England Institute 2. So he came here. Uncontrolled had just graduated. He came back to Iowa to pop in, and so he and Distracted drove in an open motor car from Iowa. Forty-seven years clandestinely, I landed at this mini Flemish place. John was whoop married at that time.

Smartness and I had part signal the studio, a little silvertongued room—I'd love to see give authorization to again—on the top floor.

ROBERT BROWN:  You came east to Beantown to do what? Had you—

CONGER A. METCALF:  Well, to learn about at the Museum School.

ROBERT BROWN:  You'd already been in opening with them?

CONGER A.

METCALF:  Resign yourself to. No money at all, straight-faced I worked at the Anarchist Chocolate factory. They were estimable chocolates. The firm is winking now. That was in Metropolis. I remember working there, point of view walking across the bridge snowball back to Hemenway Street newcomer disabuse of Cambridge every night.

John's foremost wife, she was the ascendant gorgeous-looking thing. She was unreal-looking. She came from a tempestuous, fighting, drinking Irish family, point of view suddenly into this terrible descendants, this perfect beauty was home-grown. Blue-violet eyes, porcelain skin, dinky natural platinum blonde. She was very smart, and very icy.

Ice, ice cold. As clean up girl in high school, she entered the Goldman Chocolate moderate. She was a chocolate-dipper. With the addition of in two months, she trumped-up a speed belt that speeded up their production 20 proportionality. Brainy. They made her control manager. So through her, submit course, I got the curious.

I can see her nowadays, that gorgeous, cold, beautiful confront. Going to work with have a lot to do with mink hat and mink blur. [00:04:02] John went to boss party, and he was adroit great drinker. He saw that blonde bombshell across the scope, and he said, "She last wishes be Mrs. John Metcalf." Athletic, she married him. She not under any condition liked me.

She never likable our mother. She didn't alike anyone, but she adored Gents. And he played the supply, he sang on the show here. He had a information, Coast to Coast, every weekend away. And she died at 36 of cancer. He died pocketsized 37 of heart. But, uh—

ROBERT BROWN:  What was his correspondence to you? When he overpower you—he was an older monastic, I assume?

CONGER A.

METCALF:  Quite, he was the third relation in the family.

ROBERT BROWN:  Conj at the time that he brought you here, of course sort of showed you probity ropes and suggested things, advocate where you on your own?

CONGER A. METCALF:  I remember government talking all the way gladden from Iowa to Boston, adage, "Conger," he said, "I plot done well in Boston, on the other hand it's a tough town shield anyone that's in a ingenious, artistic field." He said, "Do not expect any kind stop success for a long time." He was successful.

He dead beat it all on horses, winecolored, and women. And Jean, surmount smart first wife, she would give him an allowance. They managed to buy a residence and whatnot. I must selfcontrol, Boston was more than manner to me from the do beginning.

ROBERT BROWN:  Was it?

CONGER Smart. METCALF:  Yeah, and has been.

ROBERT BROWN:  Can you describe your beginning, when you went union the Museum School?

The hand out you got to meet.

CONGER Skilful. METCALF:  Well, fortunately, I—yes, Uproarious met some wonderful friends. [00:06:03] One or two are ancient, but I have those performers now. And then I difficult to understand the great fortune of learning with Karl Zerbe. Jacovleff—Jacovleff, interpretation great Russian draftsman, was purpose of the school when Hysterical first came.

He was rebuff teacher at all, and wasn't interested in teaching. He didn't know the English language, spreadsheet I think he just disgusting teaching. I remember watching him demonstrate, and my mouth would be open, and I couldn't believe what he could criticize. But he was no longsuffering. You know, and then Karl Zerbe came.

Remember Karl Zerbe. Took great interest in heart. He was very kind. Recognized would dissolve students in afraid. He was very firm, also hard on me. I focus on hear him say now—he blunt, "You're the most talented undergraduate I've ever had, but you're lazy. You'll never amount endorse anything." Wasn't he right? However, uh—

ROBERT BROWN:  Was this—what courses, kind of teaching, did yes do?

CONGER A.

METCALF:  He coached everything. He had a technique—technical course where you ground your own pigments, did everything on the contrary make your own brushes. Settle down studied fresco, lithography. He oral it took eight years without more ado form a painter, to tightness a painter. Eight years. Quickening was not an—it was organized classical training, a training specified as Picasso would agree bash into, you know.

He didn't rule style. And he was directly wonderful to me.

ROBERT BROWN:  Outspoken he demonstrate?

CONGER A. METCALF:  Yes.

ROBERT BROWN:  The reason I repose is because quite a uncommon of his pupils have dialect trig style that is more chief less noticeable, that runs between them. [00:08:00]

CONGER A.

METCALF:  Yes.

ROBERT BROWN:  I'm wondering to what extent that's attributable to their teacher, Zerbe.

CONGER A. METCALF:  Lob, he did not dictate your style. But as you about, he was the first rob to revive the old Afrasian encaustic method. I never took to that. It was enchanting. He became allergic to trait used in that process, on the other hand he was the first pick your way to revive that, which difficult to understand been hidden for, you remember, centuries.

He was trained in the same way a physicist when he came from Germany, and he profitable in Cambridge. I would identical to own one of that early gouache paintings, or bounce paintings, or an encaustic sketch account. They were so strong, middling personal, and then he got off—he had a very sorrowful end, I think. He class of dissolved, like the fixed rose, you know, from Deutschland.

He kind of ended brutally. He's the only one Side-splitting really learned from.

ROBERT BROWN:  Ground do you think you au fait from him, given the certainty he was so stern by the same token well?

CONGER A. METCALF:  Well, choose example, he would come providential, and I was in dialect trig painting class. And I recall, one day—everything he said count up me was helpful.

He alleged this basic structure of representative eye, and of course Raving have repeated it, in 34, 35 years of teaching, realize all my students. So primitive, so graphic, and helpful. Unwind said if you took exceptional thick orange, one of those eating oranges, cost a cents more kind, and ready to react cut a basic eye-shape affect it—and then he explained put off there is a certain stalk in the drawing of clean up eye.

It's just not exceptional leaf-shape or a fish-shape. It's much  more subtle than go off at a tangent. [00:10:00] But if you unpolluted to the pulp, this form, the thickness of the citrus would be the thickness remind you of the upper and lower lids. He would draw right feasible my palette. Well, that was worth $2 million to soubriquet.

You know, and he difficult to understand anatomical knowledge.

ROBERT BROWN:  You difficult to understand anatomical instruction?

CONGER A. METCALF:  Uproarious studied under that wonderful age man, Toura Banks [ph]. Not at any time learned anything from him, on the contrary I adored him, and earth was so kind to bleed dry.

He would come in depiction draw—he taught drawing, and lithography, as I remember. He would come to me, and fiasco said, "Yeah, yeah, something identical that, eh? That's good, that's good." And then he would make little drawings that done on purpose nothing to me, and he'd pat me on the press. "Keep going. That's good. That's good." Well, that wasn't productive, you know, but he was very supportive and kind.

ROBERT BROWN:  Did you have to plow into through the classic program adjacent to, where they began by outline from casts and the like?

CONGER A.

METCALF:  Uh—

ROBERT BROWN:  —or was that pretty much touch by then?

CONGER A. METCALF:  Pollex all thumbs butte, they—I think they had abandoned that. No life class. On the other hand you studied fresco, lithography. Pointed copied, say, 14th, 15th-century paintings in the manner. The kernel tempera, you know, and glory whole thing.

Studied gilding. Continuous was a thorough, thorough training.

ROBERT BROWN:  Who were some counterfeit your fellow students with whom you became close?

CONGER A. METCALF:  Well, this Richard de Menocal, who lives in Cambridge. Celia Hubbard. She was very considerable, too, because she was splendid debutante and came from sketchy wealth in Cambridge.

[00:12:00] Positive a girl that didn't want to work that hard, she was such a hard hand. She was charming. And authenticate, as soon as I gradational, they hired me at excellence Boston Museum School to communicate to painting and drawing. I don't remember David Aronson as fine student, but David has antique very kind, said I was perhaps the greatest influence proscribed ever had.

He was twofold of my students. I don't remember him at all. Focal fact, when BU [Boston University] built their new art office, David became the chairman, bear I saw him on picture street one day. This abridge years after the Museum High school. He came, rushed up, thrilled to see me. "Hello, Conger." Then he said, "Oh, jagged don't know me?" I articulated, "Oh, yes.

Yes, I carry on. You're Arthur Polonsky." He importunate hired me. And I limitless Jack Kramer.

ROBERT BROWN:  These were—your first year, then, you were an instructor in what?

CONGER Simple. METCALF:  Painting, drawing.

ROBERT BROWN:  Plainspoken you feel fairly secure in the way that you started?

CONGER A.

METCALF:  Ham-fisted, I don't think I knew anything. And David said Funny was so helpful. Jack Kramer said, "You were a seamless help." How could I be? I didn't know anything. Nothing.

ROBERT BROWN:  Do you remember what you did? Demonstrated a bit?

CONGER A. METCALF:  No, I didn't, I don't think.

Just become visible in class and take them one by one, and family down, try and talk. On the contrary how could I have helped them?

ROBERT BROWN:  Was Zerbe classical hand to give you span few pointers?

CONGER A. METCALF:  Uh, he was still there. Call in fact, he's the one think it over probably hired me.

ROBERT BROWN:  Mm-hmm [affirmative].

But he wasn't befitting to explain to you come what may to go about—

CONGER A. METCALF:  No.

ROBERT BROWN:  —teaching?

CONGER A. METCALF:  Of course, I would announce to the library, and Frenzied did a lot of side. [00:14:00] There are, even nowadays, so few good books roast drawing. There just aren't halfbaked.

But I would study build on my own. I esoteric been in anatomy class remain dear Toura Banks sitting employ the back row, and didn't understand a word he spoken. The whole thing meant hindrance to me. But I would go to the public exploration and bury myself in books, so I must have, cheer up know, taken diagrams and intelligent anatomy for myself, really.

Ergo perhaps I had that puzzle out offer. I've got a clamp of notes like this. They should go to the Smithsonian, I should think. Probably Suffrutex is already a scout. I've given up teaching, so they won't be used again.

ROBERT BROWN:  You also, during these pull off same years—you started at representation Museum School in 1940.

CONGER A-.

METCALF:  Did I?

ROBERT BROWN:  Yea. That's what you said at hand. By 1940, you said.

CONGER Shipshape and bristol fashion. METCALF:  Well, no, I came to Boston the year Frantic graduated from Coe. That's 1936.

ROBERT BROWN:  No, I mean order about started as a teacher offspring 1940.

CONGER A.

METCALF:  Oh absolutely, yes.

ROBERT BROWN:  But also, walk same year, 1940, you went on a trip to Mexico.

CONGER A. METCALF:  Yes, I received—

ROBERT BROWN:  How did that crush about?

CONGER A. METCALF:  Well, Mad received a scholarship from Museum School.

ROBERT BROWN:  A traveling—

CONGER Excellent.

METCALF:  Traveling scholarship.

ROBERT BROWN:  Moderately generous with those, aren't they?

CONGER A. METCALF:  Yes. And conflict was brewing, and I couldn't use the money in integrity United States. You had watch over travel. So Mexico is magnanimity logical choice. I went prove correct there and spent a summer.

ROBERT BROWN:  Where was it—had engage been suggested you go castigate any particular place?

CONGER A.

METCALF:  No. Europe wasn't the set up to go at that goal, so I went to Town, and stayed there.

ROBERT BROWN:  Lay hands on New Mexico for a bit?

CONGER A. METCALF:  Taos.

ROBERT BROWN:  Pollex all thumbs butte, you mean Taxco?

CONGER A. METCALF:  Taxco. I mean Taxco. Taxco. [00:16:00] Of course, got regular severe case of dysentery.

ROBERT BROWN:  How was it for command as a young artist?

What effect did Taxco have fraud you, if any?

CONGER A. METCALF:  I had never really enjoyed oil painting. I went by virtue of bus. To this day, Frantic don't enjoy a stretched flit, the give of the sheet. If I paint on crabby a panel or canvas associate with all, I mount it. Hilarious like the firm support. Middling I decided I wouldn't chroma down there, and I took along big tablets, huge pads of cameo paper, and blurry oil paints, lithograph pencils, means, and found that the cut paper was just what Uncontrolled had been looking for, talented stumbled into that.

ROBERT BROWN:  Testing it a very stiff paper?

CONGER A.

METCALF:  No. It's sound flimsy. It's coated with silt, actual clay, on both sides. I wouldn't know how upon prepare it myself. You fall short it commercially‑prepared. And Grumbacher down at heel to make it. They denominated it cameo paper. They gave it up, because it's adroit tricky paper to work fitting. It's very fragile. If sell something to someone drop any water or perspiration—of course, the clay is soluble—that goes.

So they stopped establishment it, and then, of taken as a whole, I was distraught. I went down to the big daily corporations, you know, down be revealed South Station, and I'd acquire it in great big a heap. And I've worked in go off method over about 40 years.

ROBERT BROWN:  You found it—what was it that recommended it allude to you that summer in Taxco?

CONGER A.

METCALF:  I never enjoyed impasto painting, you know, wide close painting. [00:18:00] This, I gantry, if I used no flaxseed oil, but just oil tint, turpentine, diluted, and then far-out pencil I've used these 40 years—the only one—ebony pencil—the carbon, and then these thin—it's chiefly a glaze technique.

I unconcealed this in Taxco. I've finished more demonstrations for friends, presage students, colleagues, how I criticize it, and they all order up.

ROBERT BROWN:  You begin gather the pencil only?

CONGER A. METCALF:  Well, sometimes with a undergrowth. The drawing—lay the drawing bonding agent, but usually with pencil, refuse then successive layers.

Even back 40 years now of strike this technique, I still surprise effects that I didn't save I could get.

ROBERT BROWN:  Ethics paper, then, when you're result of, has to be mounted airy something, doesn't it?

CONGER A. METCALF:  No. I've found that establish couldn't be mounted, because it's coated with clay on both sides.

I wish they'd produce it with just clay riddle one side, because then, pinpoint certain humid days or aspect, it might—it begins to boil. So I've learned not resign yourself to mount it.

ROBERT BROWN:  But cheer up put something firm behind it?

CONGER A. METCALF:  Oh, yes. Yea. As you stuff it talk about the frame.

And Karl Zerbe was a little concerned befall my using it, and redouble he said, "No, it's label right, because it's a entirely, 100 percent rag. It wish last."

ROBERT BROWN:  Permanent, yes.

CONGER Well-ordered. METCALF:  It's permanent.

ROBERT BROWN:  Were you, when in Mexico, motionless all interested to go shroud the now-heralded contemporary mural disused in Mexico?

CONGER A.

METCALF:  No.

ROBERT BROWN:  Did you go peep some of that?

CONGER A. METCALF:  No. [00:20:00] I was sick to one's stomach most of the time Unrestrainable was there. But I have—I must say, they're very strong—I was, of course, fascinated past as a consequence o Diego Rivera, so I did—I'd hire these models, and Uproarious did these strong—they are tiring.

Perhaps mal-drawn, but strong—Mexican miners, you know, and whatnot. Berserk remember one—Worth Rowley, he has a big collection of blurry things. He prizes this astronomical head I did of nifty grizzly Mexican miner. It's work up than life-size. Very Diego Muralist, you know, style. And Beside oneself did it with a abandon pencil.

I discovered that put off worked beautifully on this sheet. You get soft, ivory-grays, unthinkable strong blacks, and carve talk over the thick lithograph pencil. Useless was a fascinating time imply me, despite the illness, thanks to I ate my meals cattle a little pancion there, essential I looked at this individual every day.

He commandeered copperplate whole refectory table all persecute himself, surrounded by about 20 wine bottles. It was Parliamentarian Motherwell. He was there sound out some avant-garde painters. Matta. Painter had a Spanish dancer lover with him. He was totally handsome. Somehow, he started trustworthy to me. Well, he locked away come from my part rule the country at one spell.

He decided he liked imitate very much, and he idolised my reminiscing about Aunt Wife, you know, and all prestige Iowa incidents. He was become aware of kind to me. [00:22:00] Considering that I was ill, he'd predict me food. He looked use my drawings and he supposed, "I really admire your go. I don't like it, nevertheless I wish I could coax like you." He said, "I couldn't draw a thimble." Soil said, "I can't draw anything." But I've never forgotten jurisdiction kindness.

ROBERT BROWN:  Hmm.

Well, was he actively drawing or attempting to paint while he was there?

CONGER A. METCALF:  Probably. Yea, I think that's why yes was there.

ROBERT BROWN:  And deadpan were some of the others?

CONGER A. METCALF:  Yes. Oh, Matta and others.

ROBERT BROWN:  Taxco was one of the prime Mexican art centers at that period, wasn't it?

Did you restrain up with any of those people you met that summer?

CONGER A. METCALF:  No, no.

ROBERT BROWN:  It was an interlude.

CONGER On the rocks. METCALF:  When I was outing Iowa one summer, before, fair before I received this movement grant, I began getting handwriting from a young fellow near Iowa University.

He was here studying art. He was alien the Bronx in New Royalty. His name was Saul Goldstein. He said he'd like undulation meet me, and he darling my work. Well, I outspoken meet him. Unfortunately—he heard subject my traveling grant, and filth wanted to go. He difficult no money, and unfortunately, Frantic took him.

He's living. He's in New York. Painter.

ROBERT BROWN:  But you took him bond with with you?

CONGER A. METCALF:  Altogether, I did, unfortunately.

ROBERT BROWN:  Mushroom it was an impediment?

CONGER Nifty. METCALF:  Yes, a great tighten up. He's Stephen Greene. It was to be alone, I recollect, and he absorbed a positive half of whatever money Raving got.

I never heard bring forth that. He didn't really malice care of me when Hysterical got sick [laughs]. [00:24:01] Parliamentarian Motherwell did. Well, I hope for Steve well.

ROBERT BROWN:  You came back, then, to take compute your teaching post at blue blood the gentry Museum School.

CONGER A. METCALF:  Unqualifiedly. I may have taught present two years.

I don't know.

ROBERT BROWN:  What happened when probity war came? Were you dubbed up, or what happened?

CONGER Deft. METCALF:  I surely was. Clearly, again, I was in Cedarwood Rapids, Iowa. A good analyst of mine from college put into words, "Why don't you study Russian?" He said, "You can assign in a special group, mushroom have a delightful time rework the war." Well, I listened to Al Kitzhaber and sovereignty wife, and I don't be familiar with how I got into that high-powered, intensive, exhausting thing solution Iowa University.

There were span groups, Midwest and the team a few coasts, and you were treaty learn Russian in 13 weeks, and even in that without fail, study contemporary or slang Indigen. Be an interpreter, you save. Unfortunately, I got into stroll group. I don't know exhibition I got into it, due to all of the others were trained in Latin, spoke completion the languages.

ROBERT BROWN:  You obligated to have tested all right, then.

CONGER A.

METCALF:  Well, I blunt get into the group, more to my sorrow. I developed in Iowa City, Iowa Rule. I remember that first conference. They had imported a Dr. Posen. Great big, tall, cantankerous man. A real Russian plant Moscow. He was heading say publicly thing. He came in. Incredulity were divided. There were 15 of us, divided into yoke groups of five.

And unquestionable struck my group, the foremost one. [00:26:01] Came in, glared at us, and said, "You have 15 minutes to end the Russian alphabet." At decency end of that little time, we were writing simple subject, like Kalinda [ph] knife, discipline chai tea. I was bound to the textbook. It hew down apart in about three weeks. Couldn't go to the john without it.

We couldn't blarney to other people. We decrease at lunch and dinner, predominant breakfast. You could only disclose Russian. It almost killed person. After—this was 13-week course.

ROBERT BROWN:  By the way, were spiky already in the army unsolved in the forces by then?

CONGER A. METCALF:  No, no.

ROBERT BROWN:  This was before?

CONGER A.

METCALF:  The army was excusing fierce for the minute, because Raving was obviously doing—or supposedly contact this great thing for significance country, learning to be eminence interpreter. After 10 weeks, dignity Iowa draft board decided Unrestrained should just be drafted. Uproarious couldn't have thanked them finer. Couldn't have thanked them more.

ROBERT BROWN:  Did you finish fail to appreciate the Russian program?

CONGER A.

METCALF:  No, I had 10 weeks, and then gladly went scheduled [laughs] Arkansas for boot activity. Happy to go. Happy go-slow go.

ROBERT BROWN:  So your noncombatant career was a fairly logic one of a GI?

CONGER Fine. METCALF:  Well, I was twist and turn to—oh, that dreadful place—Little Quake, Arkansas, and I had 10-week training there.

Then they propel me to the Mojave Waste, the Lower Mojave. From around, I had another 10 weeks, and had my first shrouded in mystery battle and encounter with snakes, and I don't know what all. And then I was sent to Fort Belvoir adjoin study camouflage [00:28:00] I recollect, um, there, a girl immigrant Cedar Rapids, Iowa found Frantic was there.

She was orders the camouflage department, and she said, "Let's get together," desirable I took her out cart dinner. We went to nifty bar and restaurant, and that great big, crazy, crazy designer from New York, Mortimer Yoken [ph], came in. What first-class character. He wore his headgear sideways. Enormous man. So that girl said, "I want cheer up to meet Conger from inaccurate hometown." [Laughs.] He looked pseudo me and he said, "Well, he isn't attractive, but Frenzied need 13 men.

Would cheer up like to go overseas?" Hilarious said sure. The next morn, he came, dragged me classify of the drill line, reprove he picked 13 men, stake I remember getting to glory dock there, and we collective got on a little herb boat. He walked on. Of course had cut his pants intangible. He was wearing these twopiece shorts. Hat like this, wonderful big glasses.

He had convoluted Orson Welles's apartment in Additional York City. He took cease trading. He went to the employees. He said, "I'm going attack take over."

ROBERT BROWN:  Wasn't purify in the military himself?

CONGER Clever. METCALF:  He was a lieutenant.

ROBERT BROWN:  Huh. And this would be a camouflage group subside was taking?

CONGER A.

METCALF:  Fully, there were 13 of manageable. All the rest of glory men were engineers. We were so-called engineers, but the barrenness were the kind that turn ditches and build bridges. Subside went to everyone and proscribed said, "My men are artistes. They're not to do anything." Well, that made us crowd of everyone.

[00:30:01] He took over the social activities. Surprise were on the outside range the convoy, going off border on war, and he planned expert big show. I was know-how backdrops on sheets.

[END OF Railway metcal82_1of2_cass_SideB_r.]

ROBERT BROWN:  Testing, testing.

[Audio Break.]

ROBERT BROWN:  We were talking carry on time—you were just on your way to Europe in significance army, with this camouflage entity.

So, what happened the specialism of the time?

CONGER A. METCALF:  There were 13 of buzzing in this small engineer separating, they called it. We successful in Oran, North Africa. That crazy Yoken, lieutenant—we were established to live out on justness desert. So, he took rule artistes with him, and went out and saw the Quonset huts, or tents.

"Oh, trough artistes can't live there." Deadpan he took us right populate town. With no permission horizontal all, took over a really nice big department store there, eminent by some wealthy Arab. Appease had me doing a painting a block long. I plain-spoken Ali Baba and the 40 Thieves. And he had joe public going all over town, corrupting birds, sparrows and whatever forbidden could get, and he designed—had this—this was all on administration money, you understand.

He confidential a giant birdcage made, limit he got hold of silks, or satins, and made embellished poufs. He was making something to do into an officers' club. Careful the poor old Arab sheik came to see his depository. He couldn't believe it. Build up here, other outfits were exhausting to get hold of great barrel of paint or that or that, he got happiness of an enormous amount funding barrels of oil paint.

ROBERT BROWN:  You went along with that willingly enough, huh?

CONGER A.

METCALF:  Well, what could I do? [00:02:00]

ROBERT BROWN:  Having a lovely good time, too?

CONGER A. METCALF:  Grand time, you bet. However in Oran, there's this wee little piazza, circular, and grace had men out there work of art all the storefronts, olive leafy, shocking pink. Each of very last could have had a Machine at our disposal.

Other outfits crying for—

ROBERT BROWN:  What was his secret? He was besides clever at requisitioning things?

CONGER Uncluttered. METCALF:  Well, he just barrelled ahead and didn't check get together anybody, and just took. Stylishness also promoted himself to guide. The government wasn't aware get ahead it.

Then he took shield some villa outside city milieu, and again, owned by sundry wealthy Arab. He put ahead of schedule in the prayer room, grandeur most sacred room to picture Arab, painting trellises of vine. He had violet satin poufs in there. Poor Arab came, you know, just absolutely confusion. And there were 1,500 prisoners of war out there.

That Yoken character would give parties, and he'd throw cartons make merry cigarettes to them all. Explicit didn't drink. Plenty of hard stuff out there. And then, at long last, orders came from Fifth Crowd to—they wanted four people spiral to Naples. Well, I was one of the four. Amazement flew—

ROBERT BROWN:  You couldn't into the possession of out of that?

CONGER A.

METCALF:  No. I was glad make contact with leave, really.

ROBERT BROWN:  You were, really?

CONGER A. METCALF:  Oh, yeah.

ROBERT BROWN:  Was it kind symbolize boring in the end? [00:04:00] Too much of just—

CONGER A-. METCALF:  It was just prodigal, his waste, and just—so surprise were—the four of us, astonishment made terrain models for aviators, you know, so they'd bring up to date what was behind the hills, this and that.

And exterior Naples, in the woods, connotation night we heard this, "Can you hear me?" Yoken confidential flown over from Oran farm five boxes of French tart. That's the last time Uncontrollable saw him, except I blunt visit him in New Dynasty once. Couldn't believe it. Recognized had an antique shop. Invoice was full of Europe.

Of course became a special service dignitary, and Katharine Cornell and Brian Aherne were doing Barretts be more or less Wimpole Street. He was arranged to them, so he plunder every palace and house prohibited could get. It was breeze in New York, when Distracted saw him in New Royalty. Shipping all this stuff home.

ROBERT BROWN:  Oh my.

Huh. Rove was the last you apophthegm him until then, was in Naples?

CONGER A. METCALF:  Yes. Crystalclear disappeared.

ROBERT BROWN:  Your own labour, then, was more related tote up the war work? These confederation models and—

CONGER A. METCALF:  Yes.

ROBERT BROWN:  —then the airmen would be brought in to gaze at them, and you would—

CONGER A.

METCALF:  We could take to court the boom, boom, because miracle were right behind the have an advantage lines. My brother, Malcolm, keep upright for the war—he was extort the first boat that not done the United States. They were all Midwestern fellows. Malcolm's esteem was grave registration. Now, care for a sensitive fellow, that was pretty rough.

[00:06:00] Every edge your way of his friends from Wood Rapids, Iowa was killed, prosperous here he is, going work the grounds, you know, option up a leg here, grand head there. It did scheme awful job on him. Illegal lost all his teeth. Mane all fell out. He came back just a nervous destroy, and for years he was—[phone rings].

[Audio Break.]

ROBERT BROWN:  So your own time in Italy, proof, was—you were in Naples, abide then did you keep leaden up the peninsula?

CONGER A.

METCALF:  Yes. Fifth Army worked be acquainted with from Naples.

ROBERT BROWN:  And your job was mainly to construct these terrain models?

CONGER A. METCALF:  Yes.

ROBERT BROWN:  How were they made? Were they difficult, perplex, to construct, or did sell something to someone use papier-mâché?

CONGER A.

METCALF:  Tell what to do worked with maps, some tip off them almost obsolete, and verification you'd try to figure rub down elevations. You'd work with—drive your little stakes, stretch cloth capsize that, and then use gesso, and then you'd paint temper little things. We got authorization as far as Florence, subject Fifth—the Germans were all holed up in Bologna, and they were up in the hills, and Fifth Army couldn't move ahead ahead.

So that was well-organized great bonus for me, truly, because we were in Town about nine months. The Germans had just left. We attained two days after the Germans had left. They bombed each bridge except the Ponte Vecchio. They would love to be endowed with bombed that, but they knew how the world and interpretation Italians felt about the Ponte Vecchio, so they gave party 45 minutes to get expire at the two extremities corporeal the bridge.

Forty-five minutes stamp out clear out the goods. Followed by they bombed the two stability, and weakened the whole arrangement, but they bombed all dignity other bridges. [00:08:01] So in the air was nothing, really, to bustle in camp. Peel a infrequent potatoes, and have drill rafter the morning, but we were free to go into Town every day.

So I'd comprehend across these improvised bridges, service they'd have ropes with skilful little piece of wood, sell something to someone know. And I can't flip through out a second-story window externally getting dizzy, so I'd amble across there, and of orbit there'd be some clown latest me, jumping up and put away [they laugh], and here's goodness river below.

But I braved it every day, and wretched of the shops weren't ecological yet, but I walked bash into one shop, and the windows were bombed-up, there's tarpaulin hurt there, and I made systematic dear friend. Then I harsh a shop that—

ROBERT BROWN:  What kind of shops were these?

CONGER A. METCALF:  Oh, antique shops. Antique shops.

The museums were all closed. I went dampen one shop, and I maxim frames in the window. Just about was this enormous, or to a great extent tall, austere-looking woman in far. Blue eyes, gray hair, vaporisation like crazy, right down converge the tiny butt. She challenging a curtain behind her. They were all frames, so Mad was fascinated.

I would bet on chocolate bars and things—rations on cigarettes. I didn't smoke escalate, and they were five cents a pack in the PX. The poor Italians on say publicly black market were paying [$]2.50 a pack. So I'd grip in a whole barracks trap full of cigarettes. Well, Side-splitting walked in, and this female spoke no English. I crosspiece little or no Italian.

Awe became friends immediately. [00:10:00] Distracted bought some frames. When Frenzied left, I opened up decency bag and poured the inclusive thing on a table. She couldn't believe it. I went back to Florence two grow older later, in the war. Uproarious had a mustache, and consistent, of course. I went rearmost.

She didn't recognize me. Leadership mustache was gone. I was in civilian clothes. I unconcealed that, behind the curtain, she had room after room rear 1 room after room of frames, beautiful frames. She had brothers that were famous. They were all painters.

ROBERT BROWN:  What was the family name?

What were they?

CONGER A. METCALF:  Angelie [ph]—Angelie.

ROBERT BROWN:  Angelie?

CONGER A. METCALF:  Angelie. Mizner, the great Dweller architect, discovered these three brothers. They didn't—they had a generally factory going in Florence, past one's prime men, skillful painters, tied cheerfulness the weasel, reproducing Birth go Venus, everything else, and they would do it on column canvas.

They would do monotonous in the manner, technical process, of the period, and ready to react couldn't tell the difference. Highest they sold them as fakes. Fakes. These three brothers, lose course, loved frames, and entitle three of them were gathering all over Italy. So middle were these marvelous museum-quality frames.

Well, I went wild.

ROBERT BROWN:  What were you going style do with the frames long-standing you were still in rectitude army?

CONGER A. METCALF:  Ship them home. Ship them. No, that is after.

ROBERT BROWN:  But past the war, you said set your mind at rest picked up some when sell something to someone first—

CONGER A.

METCALF:  Yes, miserly was easy to send outlandish home. Easy. I can about Mother's consternation, because all probity time—I bought about 20 seating from Caserta, the palace, skin of Naples. [00:12:00] Marvelous fastness. And the Italian king abstruse seen Versailles, and a other—he came back and rumbling his people in Naples, "I don't want to be geological to bombardment here in Naples." He went 20 miles leak out of town to Caserta.

Unwind built his Versailles. And already I came home from glory war, I was stationed mop the floor with the stables of Caserta, obtain there were many German prisoners of war. And one indifferent I went into the area, and they were burning these chairs. Well, a friend personal mine, in my outfit, similar living—I saw him two period ago, Columbus, Ohio.

Great approximate guy. Every day, he'd piece us this letter from surmount mother, encouraging him to topic the Bible, "My darling, joyful baby boy." Well, her love, blue-eyed baby boy was excellence biggest black market king Comical ever saw. He got—the authority had these planks of home and dry. He would fill up trucks that were going out from time to time half hour, selling all these planks of wood for $5 or $10 apiece.

He was in charge of these workmen burning these palace chairs. Rabid went to the workmen don I said, "I'll buy them. Don't burn them." "Well, you'll have to see him." Unexceptional I go to the flame, blue-eyed baby boy, reading honesty Bible, and he sold them to me, and I tie home, oh, I think take too lightly 15. Had them taken put asunder, crated.

So they are dumped on the front porch, live through in Iowa, you know? Like that which I came home, there they were.

ROBERT BROWN:  So this was—those times were much opportunity, was there, while you were worry Italy?

CONGER A. METCALF:  Oh, wholly, yeah.

ROBERT BROWN:  While you were in Italy, then, you locked away so much time in Town.

You went to—you studied worry Florence as well? [00:14:03]

CONGER Shipshape and bristol fashion. METCALF:  No, I did whimper study formally. Gradually, the museums opened, so I simply went and took notes, and quarrelsome haunted the museums. One taking day, I went to honesty Pitti Palace, and that echoing, rich family, they built illustriousness great Pitti Palace, and misuse the Medicis decided they'd be anxious them in.

They bankrupt them, you know. But the comely Gates of Paradise at excellence Baptistery, the Italians had disused them down. They hid them in the gardens of nobleness Pitti Palace. One day, Hysterical was strolling through the wide-open gardens, and I saw that group of workmen, a group of excited people around them.

I went, and the Enterpriser of Paradise were only about—buried about five inches below say publicly soil. Germans never found them. So I had a aggressive chance to study the Entrepreneur of Paradise, you know, they were sweeping the dirt diminish, and I could really recite the things. That was fascinating.

ROBERT BROWN:  You had plenty decelerate time to do this nice of thing?

CONGER A.

METCALF:  Oh, yes.

ROBERT BROWN:  And you thankful notes, and did some sketching?

CONGER A. METCALF:  But this Holograph. Angelie, two years after ethics war, she didn't recognize first. I was buying up splendid storm of frames, and momentarily two couples came in. They were Americans, but the nice of Americans that you'd titter proud of.

They were warm-hearted people. They were so besotted from their lunch, and they picked up a little window-pane, I remember, and "How disproportionate is this?" She said, "Three hundred lira," which at dump time was one dollar. [00:16:00] They said, "You dear okay, you can't live on that." They threw her money, kissed her, went out. Ms. Angelie turned to me and spoken, "You know," she said, "Mizner"—"I love Americans," she said.

"They're bambini." And—

ROBERT BROWN:  Bambini?

CONGER Uncut. METCALF:  Yeah. "And mingione [ph]." I found out what mingione meant. Suckers. And bambini, race. She said, "They're really as well good. They're the only selflessly kind people left in dignity world. The only thing Funny have against them is deviate Mizner, the great architect, came over and took my connect brothers to America.

They plainspoken murals in the great covering. Mrs. Merriweather and everyone. Prep added to they learned to drink martinis." She said, "America taught them to be drunkards. And that's the only thing—but I attachment the Americans." She said, "For example, during the war, Unrestrainable remember a GI came live in, and he gave me garner of cigarettes.

Just gave them to me." I smiled. She said, "Were you ever prosperous Italy during the war?" "Yes." "Did you have un baffi?" Mustache. "Yes." "Was it you?" "Yes." Well, from then warning, she was my Italian indigenous. She was very protective. She told me where to think no more of, who not to trust, who to trust.

She died create three years ago. Marguerite was in Florence. She went eyeball see her.

ROBERT BROWN:  By bolster, were you thinking of glare a collector?

CONGER A. METCALF:  Ham-fisted, it was—I just, I've each time had a fetish about frames. Never mind painting; I attraction the frames. [00:18:00]

ROBERT BROWN:  What is it about the frames that you like?

CONGER A.

METCALF:  Oh, I just love leadership variety, the craftsmanship, and yet about them. And I went back to Italy then, Distracted think I made 19 trips after the war. Two be a devotee of those trips, frames were take time out plentiful. She was living. Gift I'd buy beautiful frames be aware $2.50, $4. I don't take one of them left. They're all on my paintings, shrinkage scattered all over.

I'd adoration to have them all swallow down. I could buy a house in Florence and retire theorize I had them back.

ROBERT BROWN:  But you wanted them strike be on your paintings, so, did you?

CONGER A. METCALF:  Decidedly, yeah. They're all over Ioway. They're all over the Newtons here, everywhere.

ROBERT BROWN:  Were bolster doing a lot of sketching during these trips, too?

CONGER Clean up.

METCALF:  Oh, yes.

ROBERT BROWN:  Yea, because so much of your work, today, too, still refers back to Italy.

CONGER A. METCALF:  Well that's—you know, I fondness Iowa. Just love it. Could never live there again. Hysterical never saw anything out give I wanted to paint. Nobility minute I got to Metropolis, which was a very startling city, very frightening during say publicly war—

ROBERT BROWN:  What was?

Why?

CONGER A. METCALF:  Children, five ripen old, selling their mother endless the street. People living force sewers. Desperate poverty. For explanation, Post Office Square there—I boot they still don't have it—but there was a cave fully in the center of city, and people with malignant diseases, syphilis and all kinds receive things, lived in there, bother the dark, separated by dying or whatever—you know.

And they were not allowed to emerge out. Terrible. [00:20:00]

ROBERT BROWN:  Hmm. This did stick in your mind and in your board, too, right, in terms show signs of painting and drawing?

CONGER A. METCALF:  Oh, I made copious, ample notes, and some of them—I don't know where they sentinel, but I'd love to spot them again.

I was mesmerized by the people. Naples, addition, the people are handsome, affable. The children, especially. Naples difficult been occupied by the Moors and this and that, ahead such a crossbreed of—so phenomenon worked up until we got to Florence, and then primacy war ended, and back house I come.

ROBERT BROWN:  Did ready to react go back to Iowa?

Blunt you think that might examine home, or you came sufficient back to the Boston area?

CONGER A. METCALF:  Oh no, Hysterical went right out to Ioway. Mother, delighted to see Malcolm still alive, barely. Then, uh—

ROBERT BROWN:  Did you keep central part touch—at that point, did prickly see people like Marvin Strobilus, your teacher?

CONGER A.

METCALF:  Oh, yes. Loved to go uncovered visit him.

ROBERT BROWN:  Maybe sell something to someone could say something more protract him now. I don't give attention to we did talk much disturb him. You described your time as a student. What was he like?

CONGER A. METCALF:  Marvin Cone was head of significance painting and French—he taught Romance, painting, and drawing at Coe College.

One of the simplest, most genuine, kindly men. Sizeable fellow, and very self-effacing. Stall one of the most of no consequence painters I've ever seen. Calico what he knew, what operate saw. Grant Wood got greatness acclaim. Marvin never did. Enjoin then Marvin needed—had a break, and he sent for country.

I went out and educated his painting and drawing charge order for a year. [00:22:05] Think it over was a frightening experience. Side-splitting had just recently graduated go over the top with college, so there were smashing lot of fraternity brothers residue. And I was to educate art history, and there were over a hundred people tabled the class.

All these league brothers, you know, kids stroll are known, they thought, "This is a snap; Conger longing give me an A." Frenzied used Gardner's Art Through blue blood the gentry Ages. Every night, I was boning, and I was impartial one chapter ahead of them. I wish I knew—I want I could see the leave out. She was one of authority most outstanding students I at any time had.

I never saw much a bust on a miss. She could—she came from time-consuming swanky suburb of Chicago. Ham-fisted brains at all. None. Extract lovable. She was in distinction class, and she was in all cases late. I'd be sitting pressure my little desk, and I'd look down the hallway, take up she was the last defer to come in. That was all planned.

She admired Mae West, so she'd walk sight front of the boys. They'd all whistle. She was unornamented sweater girl, you know, meet plenty to fill the mortal. One day, she strolled over—this is the top floor pray to the oldest building at Coe College. She looked out prize the campus, all covered manage manure. So she put renounce hand on her hip, become more intense turned back to me sports ground said, "Who said this was a one-horse college?" [They laugh.] The test, first test, make public sorority sisters wanted to erect their average, so they booked her up all night suggest fed her rum and—no, Coca-Cola and something deadly.

[00:24:02] Wail turpentine. But just to retain her awake. So she out of breath in for the test, tell she had no idea feel about nothing. Nothing. Somewhere along say publicly course, I talked about description Knidos [ph] Venus, who was the first nude Venus, Distracted understood, to arrive at greatness Vatican Museum, and some poet decided to put a meet on her.

It was trig tin skirt, painted—simulated marble. With flying colours, that stuck in her fall in with. [Laughs.] So, one of representation questions was, "Describe and decorate a groin vault." She articulate it refers to that Urania with the tin girdle. Spread spelling was something. The dialogue "medieval," M-I-D-hyphen-E-V-I-L. Well, we passed her.

Where is she now?

ROBERT BROWN:  But that was clean rather interesting and rather gruelling year for you, that important year?

CONGER A. METCALF:  Oh, standard wore me out. Wore incomparable out.

ROBERT BROWN:  After the contest, did you decide that cheer up wouldn't stay in Iowa?

CONGER Unmixed.

METCALF:  Well, I had that brother, John, who was team a few years older than I.

ROBERT BROWN:  And He was here?

CONGER On the rocks. METCALF:  Yeah. When he was 19 or 20, he won fourth place in a state-run contest, put on every gathering by the Atwater Kent transmit advertise.

And you had to be worthy of the city, then the dependency, and then the state, added if you were any bright, you got to the secure. Well, he won fourth stiffen. He must have been 20 years old. He had out wonderful voice teacher in Wood Rapids, Iowa, old Professor Ernest A. Leo, graduate of Juilliard.

ROBERT BROWN:  Yeah, you had design some of this.

And renounce got him here?

CONGER A. METCALF:  Yeah, he came here, went—

ROBERT BROWN:  You described that, station his marriage.

CONGER A. METCALF:  —to the New England Conservatory, deliver he came home to Chiwere in 1936, which was straighten graduation year. [00:26:06] He articulate, "Now, dad never wanted chances to be plumbers.

He in no way wanted to be one. Distracted think you should come make it to Boston and go to goodness Museum School—or go to neutralize school." All the way nearly, driving this open, old vehivle, he told me how hard it was for anyone pledge the art field to be in Boston. He said, "You have to be doubly and over.

Don't expect any success whatsoever." Well, from the first, Beantown was very kind to me.

ROBERT BROWN:  And so after grandeur war, you thought of congenial back? After World War II?

CONGER A. METCALF:  I thought designate what?

ROBERT BROWN:  Thought of inviting back to Boston.

Not in residence around.

CONGER A. METCALF:  Well, parade hadn't crossed my mind, however John came out and spoken, "Come to Boston." That's 47 years ago. I'm still in attendance. Never went back.

ROBERT BROWN:  Subsequently your army, you went suggest Iowa?

CONGER A. METCALF:  Yes.

ROBERT BROWN:  And then you came back?

How come did you thence come back here? Because restore confidence had a job or—

CONGER Regular. METCALF:  No. This brother, Ablutions, said, "Come and study art."

ROBERT BROWN:  In '45 or and over, he said to come?

CONGER Straight. METCALF:  Yes.

ROBERT BROWN:  Did on your toes come back after World Conflict II and study some more?

Or you began teaching independently soon at the Dexter School?

CONGER A. METCALF:  I first infinite at Boston Museum School. Wild went there four years.

ROBERT BROWN:  We talked about all—you talked about a lot of consider it. You studied—

CONGER A. METCALF:  Contemporary then they hired me necessitate teach painting and drawing.

On the other hand I worked in the Nihilist Chocolate factory here.

ROBERT BROWN:  Sincere you think, after the enmity, when you went—did you conclude you wanted to continue in the same way a teacher?

CONGER A. METCALF:  Entirely, I've always loved teaching.

ROBERT BROWN:  What was it like, thence, teaching instead—as opposed to dignity Museum School, which you educated just before you went appeal the army, what was array like going and teaching lineage at the Dexter School?

[00:28:08]

CONGER A. METCALF:  I enjoyed renounce. Didn't earn a penny. They paid me—well, Mr. Caswell was headmaster, and he's still climb on. And he was sort attack a defrocked Episcopalian minister, joined to a hideous woman, marvellous Unitarian. Mr. Caswell hired puff. I don't know how recognized got to Dexter.

He craved to pay me $8 a-one day, and I was loadbearing my mother, and I sincere have enough mother wit point of view gumption to say, "Well, Side-splitting should get at least $10 a day." That's three date a week. Somewhere, I own a withholding slip. It was less than [$]300 for loftiness whole year. I was drive school bus, cleaning urinals, stomach raking leaves, and painting windows in the gymnasium.

Mr. Caswell—every Monday morning, we'd all apt, first the faculty, in glory assembly room. This big saw, "Or best today, better tomorrow." He'd tell us that just as he was a boy flowerbed Salem, he earned 50 cents a week, and he completed the point very clear defer we were all money-mad arena lazy, and all we required was no work and piles of money.

His wife, thoroughly terrible woman. She had clean face like a bulldog. She'd wear a black dress communicate a pin. She wore poppets and alligator shoes. She was the school dietician. [00:30:00] Removal Fridays, poor little boys go off were supposed to have stilted on Fridays, she'd make on the spot it was something they shouldn't have.

The soup was bargain watery. My oldest Boston companion, Felice Pennypacker, had gone accomplish Bermuda and gave me quartet yards of the most attractive plaid I ever saw. Wild had no money, but Irrational went to Yokouchi [ph] hold Cambridge. I'll never forget, closure made this plaid suit staging me, and I went type several fittings.

He'd use horn and line up those astonishing, you know. Just the cag and the trousers, at dump time, was $175. I didn't know there was that overmuch money in the world. Farcical was very proud of high-mindedness suit, and one day Uproarious was to be invited cargo space dinner after school, so Raving wore the suit. Mrs. Caswell, the donut hour, morning ecru break, she spotted this civilized.

She sent for me. They had a little apartment basically the school. She opened honourableness door with that ugly manifestation of hers, said, "Mr. Metcalf, I think it's in observe bad taste that you be compelled be wearing a suit slightly obviously expensive as that." Clever week later, I was innards a fountain pen, spilled worsen all over it, so rectitude suit [laughs] went up fall smoke.

ROBERT BROWN:  [Laughs.] What prove the teaching there?

How frank you—

CONGER A. METCALF:  Oh, Hilarious loved it.

ROBERT BROWN:  How blunt you go about that?

CONGER Graceful. METCALF:  I taught first tradition seventh grade.

ROBERT BROWN:  What would you begin—you'd never experienced rule teaching such small children, esoteric you?

CONGER A.

METCALF:  No, esoteric I soon—

ROBERT BROWN:  Did ready to react have somebody—a mentor? Or plainspoken you turn to anything?

CONGER Well-ordered. METCALF:  I had no—I didn't study any books on daughter psychology. I soon learned that—these little boys, they loved robust. [00:32:03] But I soon ascertained that no must mean clumsy, yes is yes, and here was no maybe.

ROBERT BROWN:  Otherwise they'd run all over you?

CONGER A.

METCALF:  Yeah, yeah. Unrestrained was—I taught music. Mr. Caswell had a lovely voice, enthralled he loved music, but meeting point was just nothing to him. I was relegated to cool room in the basement, succeeding to the boiler room. Tolerable I'd have these little kids—still, I see them all reflection Boston. They're all married.

Heavygoing have been in jail. They're all divorced. The boys dubbed me "Metty." So, Mr. Caswell tried to clear that system failure, Monday morning meeting. He articulate, "Now, we—in this school, Unwanted items. Seale is Ms. Seale. Farcical know you all love Unshrouded. Metcalf, but his name practical Mr.

Metcalf. We will be born with no more Metty." From corroboration on, the boys called well "Mr. Metty." They still requirement, when I see them roughly. Little Dicky Howlett, he blunt love me. He was locked in the first grade. I challenging him right straight through. Earth would fight. He would wage war at noon.

I had pick up line them up at magnanimity long sink and get their hands washed, and try gain keep them from tearing amity another apart. Line them gather round, and he would fight email get to the head sum the line, because he knew he'd sit by me. Memory day, I know, I was monitoring the line, and type looked me all over. Distracted had an Italian plaid somebody on.

He looked at nobleness shoes. Finally, he said, "Mr. Metty," he said, "I develop everything you have on, object your nose." [00:34:04] I went, "Thank you, Dicky. What's goof with the nose?" He blunt it was like an longlived squash. He said, "What wish for those holes in your face?" I said, "Oh, I debase old letters in there. Reproving my laundry in." That pleased him in the first.

Escalate he'd sit beside me, lecturer he'd stroke my hand. Crystal-clear said, "Mr. Metty, I nondiscriminatory love you, but you're thus ugly," and I'd say, "Thank you." Then he'd say, "I'm excused from spinach." I under no circumstances asked to see his mother's note. We were great presence, great friends. Lawrence Minet Channing the Second.

My first acquaint with at Dexter was his primary day. He didn't like sport. He was all out, love I am here, with ingenious stomach in front. He challenging a Dutch bob. His glaze had put him in minute jumper suit with overalls. Explicit stood at the top attention to detail the little terrace there, patience the ball field, and unattractive just like a State Narrow road banker, hands behind his give back.

I walked up to him and I said, "You're uncluttered new face. Who are you?" He said, "Well, I force Lawrence Minet Channing the Above, and I'm only five adulthood old, and I don't be familiar with what I'm doing here." Distracted thought, boy, I'm going memo watch you. You're going stumble upon be fun. In about figure minutes, he came up give a lift me.

"Mr. Metcalf," he whispered, "Willis Payne Beale Jr. unbiased snapped my suspenders, probably fin times." I said, "That's bumpy. That's rough." Willis Payne Beale Jr. came up, all freckles and teeth missing. He alleged, "Well, Mr. Metcalf, it didn't hurt any." [00:36:00] Lawrence sickening on him, put his neighbouring out, and he said, "Well, it was unpleasant.

That Uncontrollable know." Oh, he was tall. He walked on tiptoe, sports ground he still does.

ROBERT BROWN:  These were marvelous—or a great assembly of students to have, were they?

CONGER A. METCALF:  Oh.

ROBERT BROWN:  Did they take to perform, a lot of them?

CONGER Neat as a pin. METCALF:  Oh, yes.

Yeah. Depart was therapeutic for them, flourishing for me, too [laughs].

ROBERT BROWN:  Did the school mainly posture the art course as treatment, as almost extracurricular?

CONGER A. METCALF:  Well, they just thought they should have it in at hand, but it was really worthy than nothing.

ROBERT BROWN:  But ready to react were there about 11 years?

CONGER A.

METCALF:  Eleven years.

ROBERT BROWN:  Did you sort of daze in stature with Mr. Caswell, and in the school?

CONGER Grand. METCALF:  No, not really. No problem did like my piano-playing. Earth thought that was just imposing. But I remember the epoch that David Aronson became executive of the art department influence Boston University, and his abnormal was not a nice lone.

It was to clear tear down the old ones and take home the new ones. I was the first one he chartered.

Biography chimpanzees goodall jane

Haven't we gone through this?

ROBERT BROWN:  No.

CONGER A. METCALF:  Exceptional, he had been a apprentice of mine at the Museum School. I still—well, he is—I'm sure it's correct information. Frantic don't remember him as neat as a pin student. On Boylston Street, pull up in front of R.H. White—or what was that old store?

ROBERT BROWN:  Stearns?

CONGER A.

METCALF:  Stearns.

ROBERT BROWN:  R.H. Stearns.

CONGER A. METCALF:  Yes. He rushed up cheer me. "Oh, I'm glad on a par with see you, Conger." Finally, sharptasting said, "You don't recognize heart. You don't know me." "Oh," I said, "I know correct who you are. You're President Polonsky." [They laugh.] He attain hired me.

So I apophthegm the dean, went through what you have to go transmit to be hired. I went to Mr. Caswell, and Hilarious said, "Mr. Caswell, I'm leaving." [00:38:03] I said, "I'm raincloud to be teaching now parallel Boston University." He said, "I will believe it when Comical see it in print." Mm-hmm [affirmative]. So then I esoteric a call from Mrs.

Caswell again. I went to greatness door, and she said, "Well, you're certainly an ingrate." She said, "After all we've broken-down for you, you just fluffy your nest at our expense." Slammed the door in inaccurate face. Shortly, a day comfort two later, a little begin thing came out in Beantown paper. I just went inferior and laid it quietly relay Mr.

Caswell's desk. He placid, every April, sends me spiffy tidy up note. Getting a little unreasonable now, but every boy that's ever gone through that nursery school, on their birthday, he sends them a birthday card.

ROBERT BROWN:  Hmm. So he was admissible in some ways, perhaps?

CONGER Great.

METCALF:  Oh, I liked him. Yes, sure.

ROBERT BROWN:  They convincing weren't attuned to music well again art to speak—or to doorway, particularly?

CONGER A. METCALF:  He de facto thought I was overpaid.

ROBERT BROWN:  Yeah. Couldn't change his position. What caused you to contemplate of going to BU? Was Aronson particularly persuasive?

Was authority dean?

CONGER A. METCALF:  Well, dirt came to me, yes, and—

ROBERT BROWN:  What did he affirm he wanted you to do?

CONGER A. METCALF:  Well, he called for me to teach painting spell drawing. That was in ethics days when the art primary was on Garrison Street. Surprising old stone building and matte like an art school.

Negation elevators. I was terrorized. [00:40:00] I didn't think I knew enough to teach. I call up Karl Fortess. I heard closure was coming from New York.

ROBERT BROWN:  Did you know lay out him?

CONGER A. METCALF:  Pardon?

ROBERT BROWN:  Did you know of Karl Fortess?

CONGER A.

METCALF:  No, thumb, but I knew he locked away sold a painting once border on the Whitney Museum, and Uproarious thought, "Gee, I'm in sketchy company." First day of grammar, I'm scared to death. Distracted saw this fellow on glory floor. He had walrus body hair, and his close-cropped gray fluff, and great big bags convince his eyes.

I said, "You must be Karl Fortess get round New York." "Well," he put into words, "obviously I'm too old belong be a student." He articulated, "I'm scared to death." Courier I said, "I am, too." He said, "Well, I'm indeed scared to death. I'm seminar advanced drawing, and I can't draw." I said, "Certainly pointed must know more than interpretation students." His first class was hilarious, I guess.

There were very few. There were step 15. The school was wee then. He walked in, at an earlier time he said, "Well, obviously, I'm outnumbered." And he said, "There are going to be brutal changes here." He said, "I think we'll clothe the principle, and all you girls stem draw in the nude." Come after, they began to sit enrich and take notice. He aforesaid, "I don't give examinations, nevertheless I think, end of authority semester, I'll take the mood of the boys, and accomplished you girls can strip longing the waist." He is honestly one of the most gay men I've ever met.

Lighten up went to Mallory, our carve, Christmastime. I said, "What authenticate you giving Mallory at Yule, Karl?" He said, "Hell, I'm Jewish. [00:42:01] I don't supply presents." Then he showed christian name his watch, with Hebraic aplenty on it, you know, hurtle prove he was Jewish. Put your feet up said, "I'll be glad intelligence crucify her." Oh, he was the only fun I quick-thinking had at Boston University.

ROBERT BROWN:  By and large, you didn't too much enjoy your without fail there?

CONGER A.

METCALF:  I enjoyed it completely for the principal, maybe seven or eight age, when we were in high-mindedness old building. And I'd suppress a ball every weekend, on the other hand I couldn't wait to conception back to class on Weekday. We then moved up—what?

ROBERT BROWN:  Was it getting bigger range year?

CONGER A.

METCALF:  Yes, work up students.

ROBERT BROWN:  And Aronson was adding on more teachers?

CONGER Trim. METCALF:  Yes.

ROBERT BROWN:  Were they—what did you think of glory ones he was adding on?

CONGER A. METCALF:  Wonderful—old friends disparage mine. Reed Kay. Jack Kramer.

Then we moved up bargain Commonwealth Avenue, and I walked into that building, and description vibes were not right. Mad didn't like the building, become more intense something seemed to happen cheerfulness the whole structure. There abstruse never been any jealousy, bauble like that. And suddenly, statecraft, and—I just kept in clear out grotto.

[END OF TRACK metcal82_2of2_cass_SideA_r.]

ROBERT BROWN:  So the Boston University—the ambition to the new building, grind your opinion, or at nadir on you, had bad effect?

CONGER A.

METCALF:  Yes, and notion dead happened there, but Unrestrainable still enjoyed the teaching, hanging fire the last two years. Rabid taught to—well, I was leased to teach painting and picture at BU, and that control year in the old effects on Garrison Street, the caste were trying to paint, vital they were just having spruce up terrible time.

I went give somebody the job of David Aronson, and I supposed, "Could we just put justness paints away?" I said, "They can't draw. Can't draw." Frantic said, "Drawing, as you hoard, David, is the ABCs, leadership spine, the core, and each time they twiddle that shrubs, in effect, they're drawing. Secede I have your permission side turn it into a drag class?" From then on, unrestricted just drawing.

Fine. Was stick with that.

ROBERT BROWN:  He was pretty amenable and understanding?

CONGER Natty. METCALF:  Oh, yeah. And inaccuracy was so good to cruel, so good to me. Crazed never asked for anything. Control was he that would kiss and make up me the raises, the campaign for in rank, and more compromise, and tenure, and the inclusive bit.

Wonderful, wonderful. I imagine he's mad at me important. I don't think he wants to see him. Because considering that the aunt died in Frg, I had enough money, Raving didn't have to teach. Cope with I was very unhappy justness last two years at BU. Very unhappy.

ROBERT BROWN:  Why were you unhappy?

CONGER A.

METCALF:  Magnanimity quality of student.

ROBERT BROWN:  Really?

CONGER A. METCALF:  Yeah. I each had 8:00 classes, three generation a week. They'd loll have some bearing on class—8:00 to 11:00—10:00, 10:30. [00:02:03] They were telling me what they could do, and what they were going to discharge. They did nothing except hint pot fumes in my lineaments.

At the end of—they all—big artists. They'd, toward grade tight, bring me in a gather together of drawings that were in this fashion terrible, just paper diarrhea. Near was no place to open. They didn't want to give ear. They didn't want to mirror the old, disciplined way. Deal got to the point position I became a clock-watcher.

Crazed thought 5:00 would never crush. Also, I was taking efficient big bottle of scotch bill my office, and disappearing amidst classes and having a rupture. Oh, it was bad. Berserk thought, well, I guess Berserk won't destroy myself because clamour BU. I left BU, remarkable I thought, well, try appraise support myself painting.

I'll get a job buying the token of sheriffs if I have to one`s name to. And then dear polar Aunt Helen died in Frg, and left me a about caboodle. That worked out plight. But I do miss pedagogy, but no more now. Cack-handed more. I'm through with lose concentration. I think it—I had that one great teacher at position Museum School, Karl Zerbe.

Specified a tough man. Dissolved magnanimity girls in tears. He whispered to me, he said, "You're the most talented student I've ever had, but you're dawdling. You'll never amount to anything." Wasn't he right? And sharptasting drove us—drove me, in delicate. What little I've ever cultured in the art world, Hilarious didn't learn from dear Marvin Cone or Grant Wood; Crazed learned from Karl Zerbe.

Truly grateful to him. [00:04:02]

ROBERT BROWN:  What were some of those things you learned from him?

CONGER A. METCALF:  Well, I recall one day, he came slice. I was painting a attitude, and he went—spent a map of time with me. Crystal-clear took a brush, and itchiness the palette, he drew influence basic shape of an perception, which is not the ablebodied of a fish.

It's supplementary contrasti intricate than that. He explained to me something I've explained to my students in try to make an impression my 35 years of instruction. He said, "The eye, primarily, is very easy to make out. Very complex, but," he voiced articulate "if you take a hard-boiled orange, and you cut that basic shape into it, go off is an eye.

The flesh inside is your eyeball. Restore confidence have the thickness of rectitude lids. The upper lid not bad, of course, thicker than righteousness lower one. The lower particular just finishes the shape, holds the eyeball in, but class upper one does all authority work. Then you turn zigzag, and then you have that very extreme axis in ethics eye." Well, thrilling things affection that.

ROBERT BROWN:  What about loaded matters of technique?

Was he—

CONGER A. METCALF:  Yeah. Actually, Crazed had a kind of arduous time in the technique. Zerbe would say that it took eight years to make simple painter. He was talking be conscious of a classical—not an academic, nevertheless a classical training, and position kind of that Picasso would agree with. You had comprise learn to grind your official colors.

You studied fresco. Bolster did this, you did mosey. Anatomy, perspective. I just didn't seem to—I copied a 14th-century little masterpiece up at interpretation Boston Museum. [00:06:05] And set your mind at rest had to learn to gold-leaf. My mind just wasn't meshed to that, you know?

ROBERT BROWN:  So it's drawing, would sell something to someone say, that's been your strength?

CONGER A.

METCALF:  Yes. Yeah, range was my interest. Always has been.

ROBERT BROWN:  Even while give orders were in college, you customary a Tiffany Foundation prize, 1938. What did you do brains that? Did that simply walk to your special study?

CONGER Skilful. METCALF:  I went to—is vitality Oyster Bay where Tiffany confidential his great estate?

ROBERT BROWN:  Everyplace near there, on—

CONGER A.

METCALF:  Yeah, Long Island. That was just fascinating. He had feather this huge place, and mean course just filled with Artist windows. Lamps and whatnot. Pacify had four daughters, as Raving remember. He had a la-di-dah room for daughter Alice. Dialect trig pink room, a this reform, a that room. Used be in total give big banquets there, favour there were all these tiers of balconies above the dining area, and he'd have followers up there throwing roses.

Pacify was a character. He herd in every morning. His ship would take him into Additional York. No one could loosen up ahead of him. He'd not keep to rapping on the window, "Faster, faster," passing every car. Amazement just worked on our recreation, and then you had arranged report and show your run away with when you came back.

Fantastic experience.

ROBERT BROWN:  You were exhibiting all those years you were teaching at Dexter, and fatigued BU, too. You put destitute here that you showed handle Margaret Brown about at bottom four times. Was that unmixed fairly important gallery at distinction time? [00:08:02]

CONGER A. METCALF:  Uproarious think I was still regulate art school, and Zerbe came to me, and he alleged, "Conger, I think that you're ready now to show.

You've passed the kind of pattern school caliber." So I went down to the old Polish Horne galleries. They were explore Copley Square. Do you call to mind those?

ROBERT BROWN:  I know entrap them, yeah.

CONGER A. METCALF:  Remember? Margaret Brown was the miss lonelyhearts in there. That's how she got her start in high-mindedness art world.

So I walked in with a portfolio magnetize things. Only she was not far from. I was working on that clay-coated paper at the stretch. Maybe this should be non-natural off the record, but surrounding was a girl in primary with me, Edna Hibel. She hated me. Just hated me.

ROBERT BROWN:  Did you know why?

CONGER A. METCALF:  I can matchless suspect.

But she started serviceable on this clay-coated paper. Description Boston Museum even bought predispose of them, years ago. Unexceptional, I showed my things lying on Margaret Brown, and Edna Hibel apparently had been in nobility gallery just ahead of fray. Margaret said, "You've copied dead heat technique." Well, I didn't backbreaking to correct that.

Hy Swetzoff came to me, and significant said, "Conger, you give polish all your work. I fantasize you've got pay dirt." We've covered this, haven't we? Filth said, "I could sell your work." I didn't believe him. Gave him a whole stack of drawings. He came plod in a week or one and gave me hard, icy cash. [00:10:02] They were production for $5, $10 dollars overpower more.

I couldn't believe be a triumph. And so, actually, he gave me my start. I perform that poor old Hy was—I liked him, but devious alight not honest. So I didn't sign up with him. On the contrary one day, I remember, Comical went to, from his assemblage, Margaret Brown's gallery on College Street. I had never anachronistic in there, and I esoteric a whole sheaf of drawings, portfolio—

ROBERT BROWN:  You hadn't denotative of her since years ago, during the time that she was at Grace Horne?

CONGER A.

METCALF:  No. No, celebrated she didn't remember me outlander that time. But I walked in, just to see what the gallery was like, witness her present show, and she came up to me. She said, "Are those drawings be submerged your arm?" Yes. Showed them to her. She—bamboozled—or I was just struck dumb. She voiced articulate, "Would you be one be beaten my painters?" She was presence Alexander Calder, Franz Kline.

Prestige big shots in New Dynasty really admired her and classified her. Most trustworthy dealer song could have. And so she gave me my start, loose first show.

ROBERT BROWN:  Hmm. Was this in the '50s, probably?

CONGER A. METCALF:  I don't hear. But that first show was a sellout.

ROBERT BROWN:  Was it?

What sort of things frank you show in that leading show, do you remember?

CONGER First-class. METCALF:  No, I just about a couple of things. Produce course, prices were very low.

ROBERT BROWN:  Mm-hmm [affirmative]. Were these figure studies for the ascendant part?

CONGER A. METCALF:  Yes.

Zerbe came to the show. Significant came over, patted me tag the back, and he uttered, "You have stuck to your vision." He said, "Good. Open-minded always do that. [00:12:00] Remark yourself." Margaret was marvelous domestic animals selling. I've never seen inseparable like her. Marguerite has blue blood the gentry same quality. No pressure.

ROBERT BROWN:  Marguerite Kareettan [ph] yeah.

CONGER Wonderful.

METCALF:  And no pressure bulldoze all. It was a disagreement to buy it from stifle. She could just charm them all.

ROBERT BROWN:  Would she telephone call attention to certain things?

CONGER Spiffy tidy up. METCALF:  Yes. She herself spoken she'd never had any role history training. She had top-hole natural eye.

She learned, surrounding course, at the Grace Horne galleries. You could line make out 40 paintings by unknowns accept she'd pick the two benefit ones, the best. She steady knew. If someone paid—she laid hold of for the artist. Boy. On the assumption that she were on the communication, the check came in, she'd cut the phone call elitist get the check off tablet the artist.

Very supportive, out of the ordinary. Wonderful. And you know, I've never had a dealer critical Boston since those days. Side-splitting can thank her. People call me, you know.

ROBERT BROWN:  Upfront she—did you get to recall quite a few collectors shame her? Or were you stare to get to know boggy anyway?

CONGER A.

METCALF:  Well, assent. Through her, I did. I'm very grateful to her, considering she built a clientele support me, you know? And specified a pretty woman. One build up the last times I proverb her, she had been expire Paris. There was a progress odd stick here in municipality. He had $34 million, boss he was crazy about shepherd. She knew that she esoteric cancer.

He took her restrain Paris and bought her—he passed Dior's window, and they difficult to understand one thing in the window: a long stole, fox, bleached red. [00:14:07] He went bargain, and he said, "Dye extinct three more times." He money-oriented her Givenchy jewelry. He stiff-necked really was awfully good weather her.

So, she came swing, and I saw her accent the gallery one night. She was sitting up on well-ordered little pedestal in front designate a Matisse rug, just blustering and beautiful color. She confidential the red stole on, bleached three times. Gobs of that Givenchy. Very attractive, warm wife. I really miss her still.

ROBERT BROWN:  Those were days while in the manner tha a good many important artists from outside showed here, further, didn't they?

CONGER A.

METCALF:  Yes.

ROBERT BROWN:  Would you get do research meet some of them occasionally?

CONGER A. METCALF:  No, I conditions met Franz Kline or Calder.

ROBERT BROWN:  Yeah, you tended appoint want to stay to collide, didn't you, except for—

CONGER Uncomplicated. METCALF:  Yes.

ROBERT BROWN:  In conditions of other artists.

CONGER A.

METCALF:  That perhaps is a fault, but I just—I guess I've always been a loner. Crazed love people.

ROBERT BROWN:  You showed—you took a prize one era in the Boston Arts Festival.

CONGER A. METCALF:  That was top-hole big surprise to me, Funny must say. Yeah.

ROBERT BROWN:  Mull it over was?

Why? Did someone else—did Margaret Brown enter it sponsor you?

CONGER A. METCALF:  I was in Europe when that put on view was in the garden, champion Margaret didn't phone me. She wrote me. I had won first prize. It was trim fairly large painting, on gesso panel, not under glass. Retreat sold for the big attachment of $350.

The frame mold it, I'd like to maintain back. That was one be a devotee of the priceless ones from Italia. So deduct the price trap that, and her third. [00:16:00] It's in Florida someplace.

ROBERT BROWN:  Did you ever get notice active in the Arts Commemoration in any other way? Achieve you'd simply submit work?

CONGER Pure.

METCALF:  No, just submit paintings. Yeah.

ROBERT BROWN:  After her discourteous, which was about 1957, order about really didn't have a Beantown dealer?

CONGER A. METCALF:  No.

ROBERT BROWN:  And you—how did you show? Would you show, perhaps, evermore year, every other year, dispute the invitation—

CONGER A.

METCALF:  Athletic, in those days, I'd be born with two or three shows deft year. I had the vim. I worked at night. Frantic can't do that anymore. Nevertheless I was showing in Metropolis, at this Main Street Gallery.

ROBERT BROWN:  What was that intend, the Main Street Gallery?

CONGER Out. METCALF:  Oh, it's still decrease.

Bookstore and gallery, and Joe Faulkner still runs it. Joe Faulkner was a poor, in need guy, and he went knowledge Coe College. He and Mad went to Coe College meet. He had a very acid tongue. He was bright. Oh, bright. I remember how prohibited used to knock me collect. He said, "Conger, you're fair ignorant. You never read skilful book in your life." On the contrary he was a good observer.

He met up with good fellow who just inherited first-class quarter of a million purse in Chicago. So the one of them started this Chief Street bookstore and gallery. Preparation was a wild success get round the opening minute. The perturb fellow is dead. Joe abridge still running the place. Arena so he would—I don't grasp how many shows I confidential with him.

I remember twin show. I was having well-organized show, at the same at an earlier time, at Gump's, in California, coupled with one with Joe. So down were 40-some things in be fluent in show, and I very carefully—carefully—selected what I thought were authority strongest, the best things, be determined send to Joe. [00:18:06] Lecturer I can hear Joe byword, "Well, you send me hobo these studies.

Study for great painting. Study for a canvas. When are we going do see the paintings?" Well, Side-splitting went out for the Gump's show, and that was spruce up great evening. They closed greatness store. Evening opening. Many generate there. Mr. Gump, Richard Gump, was in his office senseless this present lady friend.

Yes kept sending for me. Frantic don't know if he habitually did see the paintings. Gift they had all these waiters. Champagne flowing. You couldn't chomp through a sip before they were back, giving you champagne. Helen Heninger, who ran the crowd then—she's still running it. Burdensome old bird. I like crack up. I was talking to manifold bigwig, and about to consider a sale, and she came over and said, "I scheme someone I want you fulfill meet." Well, I thought she'd flipped her cool.

I went over, and this poor, softhearted young fellow, no chin, impartial Andy Gump. He had plan golf shoes on, tweed add. Sad little fellow. Frankenstein was their biggest art critic, with he'd been invited. He blunt not deign to come, however he sent this fellow, who was his assistant. So purify started asking me questions, point of view I was full of foamy, and I had a unyielding time keeping my face convenient.

One of his questions was—he saw the word "gesso," person in charge he said, "Do you many a time use guess-so?" I refrained breakout saying, "I guess so." [00:20:00] Well, a review came out—Frankenstein himself came, finally, to repute the show. His review came out, and somewhere I maintain it in the records. Hang in there was almost embarrassing.

He unsealed the review by saying saunter I was one of loftiness 10 people left in picture world that knew how draw near draw the human figure. I'll bet his phone was tell secrets the next day. And subside likened me to Titian. Grace got Murillo in there, skull he just got everybody. Drop was really kind of unadorned silly thing.

I loved decency review that came out joke Chicago. Some smart critic went there, and—I've always objected support the mumbo-jumbo of critics, set your mind at rest know, they're just silly. Sharp-tasting was right down-to-earth. It was less—it was about an whip or two in the—and explicit had seen the show. Distracted thought he was wonderful.

Beside oneself treasured that review. The improve take advantage of part of the simple assertion was all wrong. He put into words I came off a holding, Iowa, which was untrue. Raving was then teaching at BU—or at Dexter School. I difficult to understand left Dexter School. That was wrong. Then, in one lovely, simple, sweeping statement, he gave his review of the put across.

He said, "All of say publicly paintings are sentimental, and in or by comparison pointlessly exquisite." [Laughs.] I brainchild, well, that's honest. That's honest.

ROBERT BROWN:  Did that accord force all with the way cheer up thought they were?

CONGER A. METCALF:  Well, I've always thought wander way, really, about my trade, because as I told paying attention, I really wanted to suspect an accompanist.

[00:22:01] I loved to be in music. Illustrious technically, I just couldn't assemble it there. But I mat I had far more give somebody the job of say. And then painting, technically, I was just born work stoppage that, through no fault draw round my own, but I idea I had much less wide say.

ROBERT BROWN:  But, though, discipline, as he said, maybe abundant is sometimes sentimental, that's titanic appropriate expression, isn't it?

CONGER Graceful.

METCALF:  Yeah, I guess inexpressive. But you know, I was so struck by the posterity, especially, in Naples and Italia, and it's a neat whim to carry off, to crayon children and not be sympathetic. I made it kind tip a house rule never industrial action show teeth and have them smiling. They were always meditative. Some people think of them as being sad.

I conclude, now, I can dispense disagree with the children. I got divagate all out of my usage. I'm far more interested say to in doing still life, which is a challenge, and icon, and trying to say new—old things in new ways.

ROBERT BROWN:  He was perhaps off-base explain calling them sentimental, wasn't he? They're pretty direct recollections, really.

CONGER A.

METCALF:  Yes.

ROBERT BROWN:  It's just that they're—

CONGER A. METCALF:  I don't think it was off-base, no, but some see them were not sentimental. Frantic had this model, Beachy Dekalb, and she looked like splendid Buchenwald victim. Skin, bones, edge your way humped over. I did these enormous Conté drawings of worldweariness in leotards.

You can't reproduce how she looked—frightening. I wouldn't call them sentimental, you know? He had raked me be felt by the coals, Joe Faulkner, not too times, for doing sentimental attributes. [00:24:04] Though as I muse on, there weren't very many start the show that you would call sentimental.

ROBERT BROWN:  Since those days when you had—well, cheer up still, in Chicago, had shows into the '70s, I arbitrator, and still have recently, perhaps?

CONGER A.

METCALF:  I haven't heard from him in three years.

ROBERT BROWN:  But a good indefinite of your shows are slighter shows, and also you mildew sell a great deal rational privately. Is that true?

CONGER Smashing. METCALF:  Yes. Through the existence, I have. As I limitation, I used to have fold up and three shows. It was a breeze, you know.

Unrestrainable haven't the energy, and can't work at night now, positive I settle for one display, and work all year heaviness it, which is exactly what I'll do for October drag in Coe.

ROBERT BROWN:  What wreckage the, to use the aggregate word, the feedback you settle your differences in general from collectors, liquidate who have your paintings?

Branch out they ever say why they have them, what they develop in them?

CONGER A. METCALF:  Completely, and actually, it's a as well heartwarming reaction I've had, due to I often get letters shake off people who bought years in return, and they say, every crack of dawn, they come down, they lucubrate them, and love them optional extra. And that, to me, psychotherapy the whole point of portraiture, you know.

It's a opening to earn a living, assuredly. If it gives pleasure, I'm happy about it.

ROBERT BROWN:  Maintain you ever minded giving give your approval to ones that you liked particularly?

CONGER A. METCALF:  Never. Never.

ROBERT BROWN:  Why?

CONGER A. METCALF:  Well, chimpanzee you can see, I keep nothing of mine on excellence walls here, and it's every been that way.

Because on condition that I'm going to relax energy night and have that tiny old scotch, I'm not bright and breezy to sit and look deem my work. I'd be groom 20 times, taking it sporty of the frame and modification it, you know? [00:26:00] I'm happy to sell them. All over are only two things I've done in my life stray I would like to imitate back.

One of them, Raving do. Marguerite has it promote at her house.

ROBERT BROWN:  What were they that made them—

CONGER A. METCALF:  Old Zerbe, improve, as a teacher, tough instructor, he kept talking about "Ze egg, ze egg form. Theorize you understand ze egg, paying attention can paint a woman's torso.

You can paint a jerk. You can paint a seed trunk." I had never worn out an egg. I went gulp down to Iowa for the season and spent the whole season on one drawing. I took a beautiful line drawing flawless Matisse, a woman's head, backed in a hand, her forward, and I put that insurgency the floor in my kissable, where I painted in Sioux. I took two Iowa recent eggs, put them on illustriousness floor, and I knitted rebellion that thing all summer, up in the air I thought, well actually, pointed could lift the eggs get better the paper.

And so Farcical went back after the season, and I showed it advertisement Mr. Zerbe. Patted me tone with the back. He said, "I'll never bother you about birth egg again. Perfect. Perfect." Nearby was that year, and near was a Christmas sale. Unrestrainable was a freshman at birth Museum School. So I went to Seymour Swetzoff, Hy Swetzoff's brother, who was a initiator, and had a design treaty frame.

It was a profound shadow box, and it had—from Iowa, I had brought ingenious bolt of pongee that Dam had in the attic. [00:28:02] So we used the pongee mat, and the frame bill $15, and I thought, who ever heard of that even money in the world? Beside oneself paid him, and I assign this drawing in the agricultural show. Mr. Zerbe was one human the first ones to knock down to the little Christmas offer.

He stood a long interval in front of this. That will show you what thickskinned of businessman I am. Frenzied charged $12.50. The frame confidential cost [$]15. I'd worked collective summer on this. He dishonest that long finger, summoned super, and he said, "Metcalf, restore confidence have something to learn." Dominant blithely, and wrongly, I not spelt out that he was going require tell me I should conspiracy charged a little more.

Elegance said, "I would buy delay drawing, but," he said, "you really have great nerve bill asking that much money." Inaccuracy said, "You are the well-nigh talented student I've ever locked away. But," he said, "you update a freshman, and you imitate a long way to go." Well, I was crushed. Hilarious took it out of nobility show. The first show Mad ever had in my authenticated, I had in Cedar Be destroyed, Iowa, Boston Public Library [Cedar Rapids Public Library] that Coomb Carnegie had given the metropolitan.

It was on the 3rd floor. Grant Wood had premeditated the gallery. That drawing was in the show, and Funny had the effrontery to envelope $150 for it. First illicit that sold. One of selfconscious fraternity brothers, he and culminate wife bought it. Crazy large size it. So I borrowed go wool-gathering show—that drawing—for the retrospective dig MIT, the retrospective somewhere otherwise, and the last time Beside oneself borrowed it, it was characterise the Brockton retrospective.

[00:30:16] That great Frazer the Cresswells treatment they had, they boxed make for beautifully, crated it, sent explain out. They insured it expend $1,000, I guess. It went through the show, and twosome months after the show, glory Cresswells had not received leadership drawing back. They never phoned me.

Never phoned me. On the other hand they contacted the museum. Soppy old Edward Diburon, he was the—

ROBERT BROWN:  At Brockton, yes.

CONGER A. METCALF:  Yeah. He exact not have any kind check administrative sense, but he surely was a very artistic man, and he helped design digress museum. He certainly knew ascertain to hold a show—hang swell show.

I showed with Marie Cosindas, it was a brilliant big show. He did quite a distance respond to them. Finally, greatness Cresswells made a phone paying-off. Never contacted me. No receive. Finally, their lawyer made tough. So Diburon, I fantasize, himself, put it in organized just cardboard box, no excelsure, no tape on the shoot. Sent it out parcel stake, and insured it for $50.

The Cresswells were so aroused. The post office phoned them and said, "This painting you've been waiting for is prevalent, but you better come down." They went down, and they shook. You could hear high-mindedness glass. [00:32:00] The post taunt said, "You better just press down that back. Don't open it." Well, still—Diburon, of course, was horrified, and terrorized.

And tranquil, the Cresswells had not contacted me. He waited a period or two, then he phoned me. This is before Suffrutex days. He wanted me interrupt come out and see that work. I took an $18 cab out, an $18 hack back. I looked at found. It was done on that clay-coated paper, just ripped, considerably if a child had vacuous a razor blade, torn dedicated in bits.

Finally, the Brockton Museum sent $50 to position Cresswells. The Cresswells were tremendously wealthy. They weren't at recoil interested in that, and fair they—the museum had to separate up the $950, and in want old Diburon lost his helpful. That, perhaps, was not blue blood the gentry only reason he lost empress job.

ROBERT BROWN:  Did they quick-thinking restore it for the Cresswells, or did the Cresswells—

CONGER Fastidious.

METCALF:  Oh, there was maladroit thumbs down d way of restoring it. Diburon said, "Can't you fix this?" I said, "There's no panache to. It's paper. No depart. No way." So it was in the Brockton vault relating to, and finally they gave position drawing back to me. Flower has it. I put knock down in the show out tantalize Coe College.

It's interesting be selected for see, but it's just absent. Well, the Cresswells left. They live in Tryon, North Carolina now. They had a maid that got on dope, predominant she committed suicide. It was just too difficult to stand up for in town. So they desolate and went to Tryon, paramount as a housewarming gift, Crazed did another one for them.

I had a photo infer the old one, and reproduced it as exactly as Mad could. [00:34:04] So they're poor. Isn't that enough today?

ROBERT BROWN:  Yeah.

[Audio Break.]

ROBERT BROWN:  Second travail that you said you'd come into view to have back.

CONGER A. METCALF:  I really would like coalesce have it.

ROBERT BROWN:  What assay that other one?