Edward and Erna lived In a house just down the road from our old house when I was growing up. Most of my memories of them were from when I was very young, but they are all fond. I remember that they had a three legged dog - my recollection is that it had been hit by a lawnmower (poor thing). My memory also records that Edward had a delightful speaking voice - a voice I can best describe as being reminiscent of Paul Lynde.
I had no idea at the time that Edward was my grandmother’s first cousin. It makes sense, of course - her brother, also Edward’s cousin, lived right across the road from Edward, and it’s clear that this was a family stretch of road. But I was frequently unaware of these relations as a child, coming to learn and appreciate them all the more as an adult.
I also came to learn that Edward was a painter. Not a painter of houses or fences and such, though I’m sure he was capable in that regard. Rather, he painted oil on canvas of things around him. One of those paintings hung in my grandmother’s house for the entirety of my recollection, and it is of the old church.
I realize as I write this that I know very little about the painting beyond its original subject and the artist. For example, I do not know when it was painted, nor how old Edward was when he did so, nor where this fell in his artistic arc - e.g. is this an early work, or something that occurred later?
Assuming that he intended a realistic representation of the subject, some clues can be gathered from the painting itself when compared to current day (photo taken from the seat of my trike, so the vantage point is a little different):
The differences here suggest some things about the era in which the painting was made. The difference in the roads stands out, of course. In all four directions out of the intersection the road is asphalt in current day (though two of those directions change to gravel after a short distance), while Edward portrayed either gravel or dirt roadways. The road signs are absent, of course, as is any sign of anything resembling a power line.
The fence in the foreground of the painting is gone now, though I remember it within my lifetime. Edward’s Church also does not have lightening rods atop the peak of the roof. You can see that he took pains to try to accurately represent the complex lines of the stained glass window.
Though part of it may be the differences in the days portrayed - Edward’s a bright, partly cloudy summer, mine a steely gray midwinter - as I look at the painting I find that I’d rather be in his picture than in mine much of the time. His is quiet, serene, while mine is harsh and cold. I can see that he is connected to the place and the time, and I find that I very much appreciate the window into that place and time that he has given.