Editing Art colony (section)

==United States==
=== Early model ===
[[File:Luise Kaish at the American Academy in Rome.jpg|thumb|Artist Luise Kaish (1925-2013) at the American Academy in Rome]]
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.

The [[American Academy in Rome]], founded in 1894 originally as the American School of Architecture, which in the following year joined with the [[American School of Classical Studies]], is often cited as the early model for what would become the modern arts and humanities colony.<ref name=":0">{{Cite book|last=Jacobs|first=Michael|title=The Good and Simple Life: Artist Colonies in Europe and America|publisher=Harper Collins|year=1986|isbn=978-0714823157}}</ref> Its well-funded, well-organized campus, and extensive program of fellowships, were soon replicated by early 20th-century artist colonies and their wealthy benefactors.

===Northeast United States===
==== New Hampshire ====
The [[MacDowell Colony]] in Peterborough was founded in 1907 by composer [[Edward MacDowell]] and his wife, [[Marian MacDowell|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.

==== New York ====
[[File:Students at Shinnecock Hills Summer School of Art in SouthamptonNY ca.1895.jpg|thumb|Students at the Shinnecock Hills Summer School of Art in [[Southampton, New York]], {{Circa|1895}}]]
Thomas and [[Wilhelmina Weber Furlong]] of the [[Art Students League]] of New York named their private summer residence the [[Golden 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 American [[Modernism|modernist]] movement as important artists from Manhattan traveled to Golden Heart Farm to escape the city and study with the couple.<ref name=":2">The Biography of Wilhelmina Weber Furlong: The Treasured Collection of Golden Heart Farm by Clint Bernard Weber, {{ISBN|0-9851601-0-1}}, {{ISBN|978-0-9851601-0-4}}</ref>

Another famous colony, [[Yaddo]] in Saratoga Springs was founded soon after. [[Spencer Trask]] and his wife [[Katrina Trask]] conceived the idea of Yaddo in 1900, but the first residency program for artists did not formally initiate until 1926.

The [[Woodstock, New York|Woodstock]] Art Colony in the town of the same name began as two colonies. Originally known as [[Byrdcliffe Colony|Byrdcliffe]], it was founded in 1902 by [[Ralph Radcliffe Whitehead]], [[Hervey White]], and [[Bolton Brown]]. Two years later, Hervey White renamed it the [[Maverick Concert Hall|Maverick]] Colony, after seceding from Byrdcliffe in 1904.<ref>''The Maverick: Hervey White's Colony of the Arts'', exh. cat. Woodstock: Woodstock Artists Association and Museum, 2006.</ref> The town of Woodstock remains an active center of art galleries, music, and theatrical performances.

The [[Roycroft]] community was an influential [[Arts and Crafts movement|Arts and Crafts]] art colony that included both artisans and artists. Founded by [[Elbert 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.<ref>{{Cite web|title=The Roycraft Community {{!}} The Roycrafters|url=http://www.arts-crafts.com/archive/hdavis.shtml|last=Davis|first=Hilary|date=May 10, 2020|website=The Arts and Crafts Society|access-date=May 11, 2020|archive-date=March 17, 2019|archive-url=https://web.archive.org/web/20190317001940/http://www.arts-crafts.com/archive/hdavis.shtml|url-status=dead}}</ref> 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.<ref>{{Cite web|title=From World War I to the Saturday Sketch Club {{!}} The Buffalo History Museum Blog|url=https://buffalohistorymuseum.com/2017/05/06/from-world-war-1-to-the-saturday-sketch-club/|last=Justinger|first=Rebecca|date=May 6, 2017|website=The Buffalo History Museum|access-date=May 10, 2020}}</ref>

In 1973, [[Edna St. Vincent Millay]]'s sister Norma created the [[Millay Colony for the Arts]] at the historic site of [[Steepletop]] in [[Austerlitz, NY|Austerlitz]].

==== Massachusetts ====
[[File:Provincetown 1940 Art Class.jpg|thumb|A 1940 photograph of an outdoor art class in [[Provincetown, Massachusetts]], an art center that provided ample income for several art schools.]]
The [[Provincetown, Massachusetts|Provincetown]] art colony came into being when [[Charles Webster Hawthorne]] opened his [[Cape Cod School of Art]] there in the summer of 1899.<ref name="iamprovincetown.com">[http://www.iamprovincetown.com/history/art-colony-history.html Provincetown History: The Art Colony, A Brief History]</ref> The art school attracted other artists, and expanded the colony, which led to the foundation of the [[Provincetown Art Association and Museum|Provincetown Art Association]].<ref>{{Cite web|title=History {{!}} Provincetown Art Association and Museum|url=https://www.paam.org/about-paam/history/|date=May 10, 2020|website=Provincetown Art Association and Museum}}</ref> By 1916, a ''Boston Globe'' headline reported the "Biggest Art Colony in the World at Provincetown."<ref name="iamprovincetown.com" /> Provincetown claims to be the oldest continuously operating artist's colony in the United States.<ref>[http://www.provincetowntourismoffice.org/index.aspx?nid=75 Provincetown Tourism Office] {{webarchive|url=https://web.archive.org/web/20140716065915/http://www.provincetowntourismoffice.org/index.aspx?nid=75|date=July 16, 2014}}</ref>

==== Rhode Island ====
The [[Fort Thunder]] art commune was located in a warehouse on the second floor of a pre-Civil War former textile factory in the [[Olneyville, Providence, Rhode Island|Olneyville]] district of [[Providence, Rhode Island]]. Started by artists and musicians [[Mat Brinkman]] and [[Brian Chippendale]]<ref>{{Cite web |last=Kraus |first=Mercedes |date=2020-10-29 |title=Remembering Fort Thunder: 11 Dudes, Two Bands, One Working Toilet |url=https://www.curbed.com/2020/10/nest-magazine-fort-thunder-jim-drain.html |access-date=2024-04-30 |website=Curbed |language=en}}</ref> in 1995 and would be demolished to create a parking lot for a [[Shaw's and Star Market|Shaw's]] grocery store and a [[Staples Inc.|Staples]] in 2002.<ref>{{Cite web |title=Outlook remains murky for vacant Shaw’s in Eagle Square - News - The Phoenix |url=https://thephoenix.com/article_ektid48650.aspx |access-date=2024-04-30 |website=thephoenix.com}}</ref>

===Southern United States===
==== Florida ====
In [[Delray Beach, Florida]], a seasonal [[Delray Beach, Florida#Early years|Artists 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 famous [[cartoonist]]s of the era.<ref>{{cite book|last=Credle-Rosenthal|first=McCall|url=http://www.arcadiapublishing.com|title=Images of America: Delray Beach|date=2003|publisher=Arcadia Publishing|isbn=978-0-7385-1570-0|location=Charleston, South Carolina|pages=43–60|access-date=2015-01-19}}</ref><ref>{{Cite book|author=Sandy Simon|title=Remembering: A History of Florida's South Palm Beach County 1894-1998|publisher=The Cedars Group|year=1999|isbn=0-9669625-0-8}}</ref>

==== Maryland ====
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.<ref>{{Cite web|title=Mid-Atlantic Plein Air Painters Association - Home|url=https://www.mapapa.shuttlepod.org/|website=Mid-Atlantic Plein Air Painters Association|access-date=May 10, 2020|archive-date=August 7, 2020|archive-url=https://web.archive.org/web/20200807150958/http://mapapa.shuttlepod.org/|url-status=dead}}</ref>

===Midwestern United States===
==== Michigan ====
[[File:Ox Bow School of Art.jpg|thumb|The [[Ox-bow School of Art and Artists Residency|Ox-Bow School of Art and Artists' Residency]] in [[Saugatuck, Michigan]]]]
The [[Ox-Bow School of Art and Artists Residency|Ox-Bow School of Art and Artists' Residency]] was founded in Saugatuck in 1910 by Frederick Fursman and Walter Marshall Clute, both faculty from the [[School 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.<ref>{{Cite web|title=Our Story|url=https://www.ox-bow.org/our-story|date=May 10, 2020|website=Ox-bow School of Art and Artists' Residency}}</ref>

===Western United States===
==== Arizona ====
[[File:View from Historic Jerome Arizona.jpg|thumb|Historic [[Jerome, Arizona]], a copper-mining town that later attracted artists]]
The desert town of [[Sedona, Arizona]], became a Southwest artists' colony in the mid-20th century. [[Dada]]ist [[Max Ernst]] and [[Surrealism|Surrealist]] [[Dorothea 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.<ref>{{Cite web|title=ARTISTS: Max Ernst and Dorothea Tanning in Arizona|url=https://remodernreview.wordpress.com/2016/06/12/artists-max-ernst-and-dorothea-tanning-in-arizona/|date=June 12, 2016|website=The Remodern Review}}</ref> 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 as [[Henri Cartier-Bresson]] and [[Yves Tanguy]]. Sedona proved an inspiration for the artists, and for Ernst—who compiled his book ''Beyond Painting'' and completed his sculptural masterpiece ''Capricorn'' while living there. The environment also inspired Egyptian sculptor Nassan Gobran to move there from Boston and become head of the art department at [[Verde Valley School]].

In Southern Arizona in the early and mid-twentieth century, the Historic [[Fort Lowell]] enclave outside of [[Tucson, Arizona]], became an artistic epicenter. The adobe ruins of the abandoned nineteenth century [[United States Cavalry]] fort had been adapted by [[Mexican-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 the [[Sonoran Desert]], and romanticism of the [[adobe]] ruins began buying, redesigning and building homes in this small community. Notable artists included Dutch-born artist [[Charles Bolsius]], [[Black Mountain College]] instructor and photographer [[Hazel Larson Archer]], architectural designer and painter [[Veronica Hughart]], early modernist [[Jack Maul]], French writers and artists [[René Cheruy]] and [[Germaine Cheruy]], and noted anthropologists [[Edward H. Spicer]] and [[Rosamond Spicer]]

The small historic town of [[Jerome, Arizona]] was once a thriving copper mining town of 15,000. When the mining company [[Phelps 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 sought [[National 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.

==== California ====
[[File:Carmel Arts & Crafts Hall, 1907.jpg|left|thumb|[[Carmel Arts and Crafts Club]] Hall in 1907 California.]]

[[James Franklin Devendorf]] was one of the founders of the [[Carmel Arts and Crafts Club]] to support artistic works.<ref name="Seavey">{{cite book|last= Seavey |first= Kent |url=https://books.google.com/books?id=vsfoKsxi4q4C&q=Devendorf |title=Carmel, A History in Architecture|publisher=Arcadia Pub. |place=Carmel-by-the-Sea, California|date=2007|pages=7, 34–39, 45|isbn= 9780738547053 |access-date=2022-01-16 }}</ref><ref name="Hale">{{cite book|last= Hale|first=Sharron Lee |url=https://archive.org/details/tributetoyesterd0000hale/page/20/mode/2up?q=%22M.+J.+Murphy%22 |title=A tribute to yesterday: The history of Carmel, Carmel Valley, Big Sur, Point Lobos, Carmelite Monastery, and Los Burros |publisher=Valley Publishers |place=Santa Cruz, California |date=1980|page=20|access-date=2022-01-18}}</ref> The artists at [[Carmel-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 student [[Jennie 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, the [[Carmel Art Association]] replaced the Arts and Crafts Club and thrives today as the nexus of for the art community on the Peninsula of [[Monterey, California]] and [[Big Sur]]. The Carmel Art Institute was established in 1938, and included among its  instructors [[Armin Hansen]] and [[Paul Dougherty (artist)|Paul Dougherty]].<ref name="edwards">{{cite book|last1=Edwards|first1=Robert W.| title=Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, Vol. 1|date=2012|publisher=East Bay Heritage Project| location=Oakland, Calif.| isbn=9781467545679|pages=47–105, 132–150, 177–236}} An online facsimile of all of Vol. 1 is posted at the [http://www.tfaoi.com/aa/10aa/10aa557.htm Traditional Fine Arts Organization] {{webarchive |url=https://web.archive.org/web/20160429115613/http://www.tfaoi.com/aa/10aa/10aa557.htm |date=April 29, 2016 }}.</ref> [[John James Cunningham|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.<ref name="Institute">{{cite web|url=http://carmelartinstitute.com/|title=Carmel Art Institute|work=Carmel Art Institute|place=Carmel-by-the-Sea, California|date=|pages=|access-date=2023-08-12}}</ref>

==== New Mexico ====
[[File:Gerald Cassidy house, Santa Fe.jpg|thumb|The home of Gerald Cassidy, a founding member of the [[Sante Fe art colony]] in [[Santa Fe, New Mexico]] in the early 20th century, {{Circa|1937}}]]
The [[Taos art colony]] in [[Taos, 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 gallery|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.<ref name="AAC">{{cite book|last=Shipp|first=Steve|url=https://archive.org/details/americanartcolon00ship/page/159|title=American Art Colonies, 1850-1930: A Historical Guide to America's Original Art Colonies and Their Artists|publisher=Greenwood Publishing|year=1996|isbn=9780313296192|pages=[https://archive.org/details/americanartcolon00ship/page/159 159]|url-access=registration}}</ref>