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By Roger Hutchinson

Calum MacLeod had lived at the northern aspect of Raasay due to the fact his start in 1911. He tended the Rona lighthouse on the very tip of his little archipelago, until eventually semi-automation in 1967 decreased his obligations. ‘So what he made up our minds to do,’ says his final neighbour, Donald MacLeod, ‘was to construct a street out of Arnish in his months off. With a street he was hoping new generations of individuals may go back to Arnish and all of the north finish of Raasay . . .’ And so, on the age of fifty six, Calum MacLeod, the final guy left in northern Raasay, set approximately single-handedly developing the ‘impossible’ highway. it will develop into a romantic, quixotic enterprise, a type of sculpture; an obsessive murals so excellent in each gradient, culvert and helping wall that its production occupied virtually 20 years of his lifestyles. In Calum’s highway, Roger Hutchinson recounts the extreme tale of this outstanding man’s devotion to his visionary undertaking.

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Stieglitz described their art collection: ‘splendid examples of Matisse, Picassos, Duchamp, a Cézanne watercolour & a Cézanne lithograph – several Brancusis – in marble, wood, & bronze’. Such images had hung on the walls of his tiny rooms at 291, and O’Keeffe had seen much similar work there.

A real surprise [and] . . I felt they were a genuine expression of yourself. ’44 O’Keeffe stumbled over her first reply: ‘I don’t exactly get your meaning’, but she pressed on, ‘I am so glad they surprised – that they gave you joy. ’45 48 And so began the first notes of what slowly grew into a love affair, and the tumultuous shared creativity of dual careers. 46 On 3 May 1916 O’Keeffe received a telegram containing long-dreaded news. Her mother had died the day before, on 2 May, and so ended the long struggle with tuberculosis.

Picasso shown in America. Major first viewings of African tribal art as aesthetic objects, rather than ethnographic curiosities, followed in 1914, and that winter the new charcoal Cubist papiers collés, drawings by Picasso and Braque, also went on view. A sculpture exhibition of the works of Constantin Brancusi, his first in America, came that spring, another introduction for American modernists. Earlier, in 1909, Stieglitz had experimented with another new idea closer to home, and showed the latest tendencies in American abstract painting in the exhibition Younger American Artists, which included works by Arthur Dove, John Marin and Marsden Hartley.

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