Maine Memory Network

House on Court Street, Houlton, ca. 1895

Contributed by: Aroostook County Historical and Art Museum Date: circa 1895 Location: Houlton Media: Photographic print

Royal Lace Paper workers, Brooklyn, N.Y., ca. 1951

Contributed by: Maine Folklife Center, Univ. of Maine Date: circa 1951 Location: Brooklyn Media: Photographic print

James P. Baxter house, ca. 1900

Contributed by: Maine Historical Society Date: circa 1900 Client: James P. Baxter Architect: John Calvin Stevens

Lincoln County through the Eastern Eye

The Penobscot Marine Museum’s photography collections include nearly 50,000 glass plate negatives of images for "real photo" postcards produced by the Eastern Illustrating and Publishing Company of Belfast. This exhibit features postcards from Lincoln County.

World War I and the Maine Experience

With a long history of patriotism and service, Maine experienced the war in a truly distinct way. Its individual experiences tell the story of not only what it means to be an American, but what it means to be from Maine during the war to end all wars.

Frye Island Historical Society

View collections, facts, and contact information for this Contributing Partner.

Guilford, Maine - Special Events

"Ten automobiles, decorated with many colored flowers, vied with each other on muddy roads for the prizes."

Monument Square 1967
by C. Michael Lewis

The background story and research behind a commissioned painting of Monument Square.

Tapestry, Seine Twine and Burlesque
by Barbara Burns

My work as a tapestry artist and dancer in Maine.

Longfellow Studies: Celebrity's Picture - Using Henry Wadsworth Longfellow's Portraits to Observe Historic Changes

Grade Level: 3-5, 6-8, 9-12 Content Area: Social Studies, Visual & Performing Arts
"In the four quarters of the globe, who reads an American book?" Englishman Sydney Smith's 1820 sneer irked Americans, especially writers such as Irving, Cooper, Hawthorne, and Maine's John Neal, until Henry Wadsworth Longfellow's resounding popularity successfully rebuffed the question. The Bowdoin educated Portland native became the America's first superstar poet, paradoxically loved especially in Britain, even memorialized at Westminster Abbey. He achieved international celebrity with about forty books or translations to his credit between 1830 and 1884, and, like superstars today, his public craved pictures of him. His publishers consequently commissioned Longfellow's portrait more often than his family, and he sat for dozens of original paintings, drawings, and photos during his lifetime, as well as sculptures. Engravers and lithographers printed replicas of the originals as book frontispiece, as illustrations for magazine or newspaper articles, and as post cards or "cabinet" cards handed out to admirers, often autographed. After the poet's death, illustrators continued commercial production of his image for new editions of his writings and coloring books or games such as "Authors," and sculptors commemorated him with busts in Longfellow Schools or full-length figures in town squares. On the simple basis of quantity, the number of reproductions of the Maine native's image arguably marks him as the country's best-known nineteenth century writer. TEACHERS can use this presentation to discuss these themes in art, history, English, or humanities classes, or to lead into the following LESSON PLANS. The plans aim for any 9-12 high school studio art class, but they can also be used in any humanities course, such as literature or history. They can be adapted readily for grades 3-8 as well by modifying instructional language, evaluation rubrics, and targeted Maine Learning Results and by selecting materials for appropriate age level.