Overview

An ekphrastic experiment in imaginative biography and personal detachment. The Andrew Wyeth Chronicles presents an imaginative narrative of the painter's creative life, rife with both losses and pleasures. Janée J. Baugher employs the footnote form to write a book-length narrative of ekphrastic poetry in which the character of Andrew Wyeth chronicles his internal musings. The sixty-three Wyeth paintings that influenced these poems (dated 1938 through 2008) are the ones in which Baugher delighted in how the quotidian is made tender, like a white sheet drying outside on the line or sunflowers' shadows against a house. Studying the work of this particular artist was a decades-long meditative practice of deep looking, a method by which the author detaches from her ego. Wyeth's paintings, drawings, and watercolors became portals through which she could imagine worlds beyond her immediate awareness and in which she could explore linguistic possibilities.

Full Product Details

Author:   Janée Baugher
Publisher:   Tupelo Press, Incorporated
Imprint:   Tupelo Press, Incorporated
Dimensions:   Width: 15.20cm , Height: 1.30cm , Length: 22.90cm
Weight:   0.172kg
ISBN:  

9781961209534

ISBN 10:   1961209535
Pages:   76
Publication Date:   19 February 2026
Audience:   General/trade ,  General
Format:   Paperback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Contents Section I. Self Portrait, 1938 Self Portrait, 1939 Frog Hunters in the Brandywine Valley, 1941 Pennsylvania Landscape, 1942 Public Sale, 1943 Sycamore Tree and the Hunter, 1943 Baby Owl, 1944 John Olson’s Funeral, 1945 Winter, 1946 Wind from the Sea, 1947 Christina Olson, 1947 Christina’s World, 1948 Revenant, 1949 Soaring, 1942-1950 Section II. Trodden Weed, 1951 Faraway, 1952 Nicholas, 1955 Chambered Nautilus, 1956 Mill Buildings, 1959 Groundhog Day, 1959 Young Bull, 1960 Geraniums, 1960 Independence Day, 1961 Distant Thunder, 1961 Wood Stove, 1962 The Patriot, 1964 Master Bedroom, 1965 Frosted Apples, 1967 The Sweep, 1967 Anna Christina, 1967 Alvaro and Christina, 1968 End of Olsons, 1969 Section III. Evening at Kuerners, 1970 Spruce Grove, 1970 The Kuerners, 1971 Anna Kuerner, 1971 45. Off at Sea, 1972 From my Window, 1974 The German, 1975 48. Anna Climbing the Stairs, 1975 49. Home Comfort, 1976 50. Pine Baron, 1976 51. Sea Boots, 1976 52. Loden Coat, 1978 53. Braids, 1979 54. Night Sleeper, 1979 55. Night Shadow, 1979 56. Cape Coat, 1982 57. Sycamore, 1982 \58. Untitled (Tree House Study), 1982 Section IV. 60. Sunflowers, 1982 61. Adrift, 1982 62. Pentecost, 1989 63. Love in the Afternoon, 1992 64. Marriage, 1993 65. Messersmith’s, 1994 66. Airborne, 1996 67. Road to the Mill, 2001 68. The Carry, 200369. Gone Ashore, 2003 70. Cosmos, 2005 71. Eagle Eye, 2007 72. Good-Bye, My Love, 2008 73. Works Cited 75. Citations

Reviews

“The first two poems of The Andrew Wyeth Chronicles so excited me that I had to stop reading, stand up and leave the room, and cross a few items off my daily list of things to do before I could return to the manuscript—I knew I wouldn’t be able to judge the manuscript fairly if I just rode that initial buzz to the end. But as I walked down the hall, and then down the stairs, I was thinking about those poems, and in particular about the form in which the poet had chosen to write them—each poem is a series of numbered notes, some lineated, some written like prose, each note implicitly guiding the reader to more information about a poem’s titular painting. The notes brilliantly stitch the act of composition to the page while also holding the poems open—the best lyric poems, after all, are finally irresolvable; they cannot be finished, closed. Via the notes, one sees through the paintings to which they refer, and imagines oneself in the position of Andrew Wyeth himself, a step away from the painting he has just made, or is making, so that one traces the poet’s ekphrastic experience from behind the painting, as it were, rather than in front of it. What a strange, impossible effect! But in The Andrew Wyeth Chronicles it is achieved again and again. And it’s an effect I couldn’t, it turns out, walk away from, and having done the things I had stood up to do, I climbed the stairs, walked back to my desk, and sat down to The Andrew Wyeth Chronicles again, still buzzing, held open.” * Dorset Prize Judge, Shane McCrae, author of The Many Hundreds of the Scent *

Author Information

Janée J. Baugher is the author of the only craft book of its kind, The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction, as well as the full-length poetry collections, The Body’s Physics and Coördinates of Yes. In 2008, she held a two-year post as a Humanities Washington Inquiring Minds Speaker, in which she lectured across Washington State on writers and visual artists of the Lost Generation. Her poetry has been adapted for the stage and set to music at the University of Cincinnati–Conservatory of Music, Contemporary Dance Theatre (Ohio), Interlochen Center for the Arts, Dance Now! Ensemble (Florida), Otterbein University, and the University of North Carolina-Pembroke. Educated at Boston University and Eastern Washington University, Baugher has been a featured poet at the Library of Congress and on Seattle Channel TV. Recently, she was a judge for the Frame to Frames: Your Eyes Follow Ekphrastic Poetry Film Prize (Fotogenia Festival, Mexico City). She’s a longtime assistant editor at Boulevard magazine and lives in Seattle, where the Office of Arts & Culture awarded her a 2024-25 CityArtist grant.

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