 | This articleneeds additional citations forverification. Relevant discussion may be found on thetalk page. Please helpimprove this article byadding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Art colony" – news ·newspapers ·books ·scholar ·JSTOR(October 2016) (Learn how and when to remove this message) |
.jpg)
Art colonies are organic congregations ofartists in towns, villages and rural areas, who are often drawn to areas of natural beauty, the prior existence of other artists,art schools there, or a lower cost of living. They are typically mission-drivenplanned communities, which administer a formal process for awardingartist residencies. A typical mission might include providing artists with the time, space, and support to create, fostering community among artists, and providing arts education, including lectures and workshops.
Early 20th century American guest-host models includeMacDowell inPeterborough, New Hampshire andYaddo inSaratoga Springs, New York. Two primary organizations serving artist colonies and residential centres areRes Artis inAmsterdam, and theAlliance of Artists Communities, inProvidence, Rhode Island.[1] Taiwan'sIntra Asia Network is a less formal body working to advance creative communities and exchanges throughout Asia. Collectively, these groups oversee most of the world's active artists' colonies.
_by_Georges_Seurat.jpg)
Some painters were renowned within artistic circles for settling down permanently in a single village, most notablyJean-François Millet at Barbizon,Robert Wylie at Pont-Aven,Otto Modersohn at Worpswede,Heinrich Otto at Willinghausen, andClaude Monet at Giverny. They were not necessarily leaders, although these artists were respected and held a certainmoral authority in their respective colonies. There were also regular 'colony hoppers' who moved about the art colonies of Europe in a nomadic fashion.Max Liebermann, for instance, painted at Barbizon, Dachau, Etzenhausen and at least six short-lived Dutch colonies;Frederick Judd Waugh worked in Barbizon, Concarneau, Grèz-sur-Loing, St Ives and Provincetown in the United States;Evert Pieters was active at Barbizon, Egmond, Katwijk, Laren,Blaricum, Volendam, andOosterbeek;Elizabeth Armstrong Forbes painted at Pont-Aven,Zandvoort, Newlyn and St Ives.[2]
Art colonies initially emerged as village movements in the 19th and early 20th century. It is estimated that between 1830 and 1914, some 3,000 professional artists participated in a mass movement away from urban centres into the countryside, residing for varying lengths of time in over 80 communities. These colonies are typically characterized according to year-round permanence and population size. Thus, transient colonies had annually fluctuating populations of artists, often painters who visited for just a single summer season, in places, such asHonfleur,Giverny,Katwijk,Frauenchiemsee,Volendam, andWillingshausen. Semi-stable colonies are characterized by their semi-permanent mix of visiting and resident artists who bought or built their own homes and studios. Examples would includeAhrenshoop,Barbizon,Concarneau,Dachau,St. Ives,Laren, andSkagen. Finally, stable colonies are characterized by their large groups of permanent full-time resident artists who bought or built their own homes and studios, in places such asEgmond,Sint-Martens-Latem,Newlyn, andWorpswede.
While artist colonies appeared across Europe, as well as in America and Australia, the majority of colonies were clustered in the Netherlands, Central Germany, and France (encircling Paris).[2] Overall, artists of thirty-five different nationalities were represented throughout these colonies, with Americans, Germans and British forming the largest participating groups.[3] This gave socialising a cosmopolitan flavour: "Russia, Sweden, England, Austria, Germany, France, Australia and the United States were represented at our table, all as one large family, and striving towards the same goal," the painter Annie Goater penned in 1885 in an essay on her recent experiences at one French colony.
Villages can also be classified according to the nationalities they attracted. Barbizon,Pont-Aven, Giverny, Katwijk, Newlyn, and Dachau drew artists from around the world and had a pronounced international flavour. Americans were always a major presence atRijsoord, Egmond,Grèz-sur-Loing, Laren, and St Ives; Grèz-sur-Loing went through a Scandinavian phase in the 1880s; and Germans were the largest group after the indigenous Dutch at Katwijk. On the other hand, foreigners were rare atSint-Martens-Latem,Tervuren,Nagybanya,Kronberg,Staithes, Worpswede, and Willingshausen, whileSkagen hosted mainly Danes and a few other Scandinavians.[2]
The greater number of early European art colonies were to be casualties of the First World War.[3] Europe was no longer the same place socially, politically, economically and culturally, and art colonies seemed a quaint anachronism in an abrasively modernist world. However, a small proportion did endure in one or another form, and owe their continuing existence to cultural tourism. The colonies ofAhrenshoop, Barbizon,Fischerhude, Katwijk, Laren, Sint-Martens-Latem, Skagen, Volendam, Willingshausen, and Worpswede not only still operate in a modest fashion, but run their own museums where, besides maintaining historic collections of work produced at the colony, they organise exhibition and lecture programs. If they have not fared as well, several former major colonies such asConcarneau and Newlyn are remembered via small yet significant collections of pictures held in regional museums. Other colonies succumbed during the late twentieth century to cultural entrepreneurs who have redeveloped villages in the effort to simulate, within certain kitsch parameters, the 'authentic' appearance of the colony during its artistic heyday. This is not always successful, with Giverny, Grèz-sur-Loing, Kronberg,Le Pouldu, Pont-Aven,Schwaan, andTervuren probably being among the most insensitively commercialised of the former art colonies.[2]
Anart commune is acommunal living situation colony where collective art is produced as a function of the group's activities. Contemporary art communes are scattered around the world, yet frequently aloof to widespread attention due to displeasure or discomfort with mainstream society. In the 1960s and 1970s art communes such as Friedrichshof (also known asAktionsanalytische Organisation) flourished. Creative art was enthusiastically produced within such groups, which became gathering points for the counterculture movement.
From a sociological viewpoint the art producing communes of the 1970s failed to sustain themselves, owing largely to the fact that they tended to have open memberships, which eventually attracted people with social problems. These problems then spread and become too difficult for these autonomous entities to handle, although some groups, such as the formerKunsthaus Tacheles, continued to flourish.
Today's art communes are a mix of artists, drifters, collectivists, activists, dadaists, and hangers on. Such groups are more politically and ideologically diverse than their mid-20th century counterparts, which has led to many art communes becoming more mainstream commercial entities.
Some art colonies are organized and planned, while others arise because some artists like to congregate, finding fellowship and inspiration—and constructive competition—in the company of other artists.
TheAmerican Academy in Rome, founded in 1894 originally as the American School of Architecture, which in the following year joined with theAmerican School of Classical Studies, is often cited as the early model for what would become the modern arts and humanities colony.[3] Its well-funded, well-organized campus, and extensive program of fellowships, were soon replicated by early 20th-century artist colonies and their wealthy benefactors.
TheMacDowell Colony in Peterborough was founded in 1907 by composerEdward MacDowell and his wife,Marian. MacDowell was inspired by the American Academy in Rome, and its mission to provide American artists with a home base at the centre of classical traditions and primary sources. MacDowell, who was a trustee of the American Academy, believed that a rural setting, free from distractions, would prove to be creatively valuable to artists. He also believed that discussions among working artists, architects and composers would enrich their work.
Thomas andWilhelmina Weber Furlong of theArt Students League of New York named their private summer residence theGolden Heart Farm art colony when they opened it in the summer of 1921. Located in upstate New York on Lake George, the colony and its artists in residence were at the center of the Americanmodernist movement as important artists from Manhattan traveled to Golden Heart Farm to escape the city and study with the couple.[4]
Another famous colony,Yaddo in Saratoga Springs was founded soon after.Spencer Trask and his wifeKatrina Trask conceived the idea of Yaddo in 1900, but the first residency program for artists did not formally initiate until 1926.
TheWoodstock Art Colony in the town of the same name began as two colonies. Originally known asByrdcliffe, it was founded in 1902 byRalph Radcliffe Whitehead,Hervey White, andBolton Brown. Two years later, Hervey White renamed it theMaverick Colony, after seceding from Byrdcliffe in 1904.[5] The town of Woodstock remains an active center of art galleries, music, and theatrical performances.
TheRoycroft community was an influentialArts and Crafts art colony that included both artisans and artists. Founded byElbert Hubbard in 1895, in the village of East Aurora, New York, near Buffalo its artisans were influential on the development of early 20th-century American furniture, books, lamps and metalwork.[6] The colony drew from the Saturday Sketch Club for many of its artists, as the club was located near a cabin used by Buffalo art students who specialized in outdoor oil painting.[7]
In 1973,Edna St. Vincent Millay's sister Norma created theMillay Colony for the Arts at the historic site ofSteepletop inAusterlitz.
By the early 1970s,East Hampton had developed a reputation as a vibrant artists' colony.[8] A growing community of unconventional and experimental artists, writers, and performers established seasonal residences and shared spaces, fostering a bohemian atmosphere.[8] The Hamptons continues to attract artists and creative professionals, helping to solidify its status as an influential center for the visual and performing arts.[8]
TheProvincetown art colony came into being whenCharles Webster Hawthorne opened hisCape Cod School of Art there in the summer of 1899.[9] The art school attracted other artists, and expanded the colony, which led to the foundation of theProvincetown Art Association.[10] By 1916, aBoston Globe headline reported the "Biggest Art Colony in the World at Provincetown."[9] Provincetown claims to be the oldest continuously operating artist's colony in the United States.[11]
TheFort Thunder art commune was located in a warehouse on the second floor of a pre-Civil War former textile factory in theOlneyville district ofProvidence, Rhode Island. Started by artists and musiciansMat Brinkman andBrian Chippendale[12] in 1995 and would be demolished to create a parking lot for aShaw's grocery store and aStaples in 2002.[13]
InDelray Beach, Florida, a seasonalArtists and Writers Colony existed during the winter months from the mid-1920s until the early 1950s. The Delray Beach enclave was noted for attracting many famouscartoonists of the era.[14][15]
In Nottingham, the Mid-Atlantic Plein Aire Company, most notable for the involvement of artist William David Simmons, remains active. Now known as the Mid-Atlantic Plein Air Painters Association (MAPAPA), its mission remains the same: to educate and expose local artists and the general public with classical painting traditions.[16]
TheOx-Bow School of Art and Artists' Residency was founded in Saugatuck in 1910 by Frederick Fursman and Walter Marshall Clute, both faculty from theSchool of the Art Institute of Chicago (SAIC). Fursman and Clute's vision was to create a respite where faculty and students could immerse themselves completely in artmaking, surrounded by a supportive community of artists and an inspired landscape of natural dunes, woods and water.[17]
The desert town ofSedona, Arizona, became a Southwest artists' colony in the mid-20th century.DadaistMax Ernst andSurrealistDorothea Tanning arrived from New York in the late 1940s, when the town was populated by less than 500 ranchers, orchard workers, merchants, and small Native American communities.[18] Amid the Wild West setting, Ernst built a small cottage by hand in Brewer Road, and he and Tanning hosted intellectuals and European artists such asHenri Cartier-Bresson andYves Tanguy. Sedona proved an inspiration for the artists, and for Ernst—who compiled his bookBeyond Painting and completed his sculptural masterpieceCapricorn while living there. The environment also inspired Egyptian sculptor Nassan Gobran to move there from Boston and become head of the art department atVerde Valley School.
In Southern Arizona in the early and mid-twentieth century, the HistoricFort Lowell enclave outside ofTucson, Arizona, became an artistic epicenter. The adobe ruins of the abandoned nineteenth centuryUnited States Cavalry fort had been adapted byMexican-Americans into a small village called "El Fuerte." During the 1920s, 30s and 40s, artists, writers and intellectuals, attracted by the rural elegance and stark landscape of theSonoran Desert, and romanticism of theadobe ruins began buying, redesigning and building homes in this small community. Notable artists included Dutch-born artistCharles Bolsius,Black Mountain College instructor and photographerHazel Larson Archer, architectural designer and painterVeronica Hughart, early modernistJack Maul, French writers and artistsRené Cheruy andGermaine Cheruy, and noted anthropologistsEdward H. Spicer andRosamond Spicer
The small historic town ofJerome, Arizona was once a thriving copper mining town of 15,000. When the mining companyPhelps Dodge closed the United Verde Mine and its related operations in 1953, the number of residents plummeted to 100. To prevent Jerome from disappearing entirely, the remaining residents turned to tourism and retail. To further encourage tourism, the residents soughtNational Historic Landmark status, which the federal government granted in 1967. Today, by sponsoring music festivals, historic-homes tours, celebrations, and races, the community succeeded in attracting visitors and new businesses, which in the twenty-first century include art galleries, working public studios, craft stores, wineries, coffee houses, and restaurants. Many residents are full-time artists, writers, and musicians.
James Franklin Devendorf was one of the founders of theCarmel Arts and Crafts Club to support artistic works.[19][20] The artists atCarmel-by-the-Sea, California coalesced in 1905 and incorporated their art gallery and meeting rooms a year later as the Carmel Arts and Crafts Club. They staged annual and special exhibitions, which attracted distinguished visiting artists from across the country, and provided professional instruction in painting, sculpture, and crafts. At the urging of his former studentJennie V. Cannon,William Merritt Chase was persuaded to teach his last summer school here in 1914. Between 1919 and ca.1948 it was the largest art colony on the Pacific Coast of the United States. In 1927, theCarmel Art Association replaced the Arts and Crafts Club and thrives today as the nexus of for the art community on the Peninsula ofMonterey, California andBig Sur. The Carmel Art Institute was established in 1938, and included among its instructorsArmin Hansen andPaul Dougherty.[21]John Cunningham began at the Institute when he helped teach a painting class for Hansen when he fell ill. In 1940, Hansen and the Whitman transferred ownership of the institute to Cunningham and his wife.[22]
TheTaos art colony inTaos, New Mexico is an example of more organic development. The semi-desert landscape, clear skies and stunning light, and the cultural richness of both Hispanic and Pueblo Indian cultures in and around Taos attracted many artists throughout the 20th century. Joseph Henry Sharp visited Taos on an 1883 sketching trip and later shared his enthusiasm for the area while studying in Paris with artists Bert G. Phillips and Ernest L. Blumenschein. As a result of a broken wagon wheel while en route to Mexico on September 3, 1898, the two artists stayed in the Taos area instead. Back in Paris, Blumenschein met Eangar I. Couse and told him of Taos. Oscar E. Berninghaus and Herbert Dunton joined the Taos artists,comprising the "Founding" group of six. On July 1, 1915, the Taos Society of Artists held its first meeting. In 1916 Mabel Dodge, the New York socialite, and her husband, artist Maurice Sterne, moved to Taos, where Mabel started Taos' literary colony and recruited many artists to relocate there. Georgia O’Keeffe first visited Taos in 1929, visited the area every summer, and moved permanently to Abiquiu, New Mexico in 1946. Other famous artists who frequented Taos are Ansel Adams and D.H. Lawrence.Once artists began settling and working in Taos, others came,art galleries and museums were opened and the area became an artistic center—though not a formal, funded art colony providing artists with aid, as Yaddo and MacDowell do.[23]
Note: Art colonies have only started to be investigated by scholars, with the chief historical studies consisting of Michael Jacobs and Nina Lübbren's work listed below.
| National | |
|---|---|
| Other | |
