American Art Colonies, 1850-1930: A Historical Guide to America's Original Art Colonies and Their Artists

By Steve Shipp | Go to book overview

Introduction

California in 1900 was a plein air haven for artists, enhanced by sunshine, coastal mountains, rocky shorelines and relaxed lifestyle. The Impressionist painters gathered in seaside art colonies at Monterey and Laguna Beach, artistically competing for painted records of stimulating colorful scenery in various stages of light and shadow.

Steve Shipp

Old Lyme, in Connecticut, was a popular place for many artists, especially those who had studied and worked with the French Impressionists and were looking for somewhere in the United States offering similar landscape subjects.

Steve Shipp

During the last half of the nineteenth century and early years of the twentieth century there was a phenomenal growth of American art colonies. This growth has been often discussed in conversation and history books, but there is insufficient published material to fully explain the background of their establishment and their place in American history. A few publications have occasionally provided detailed information on specific colonies (see the bibliography), but none has yet to adequately explore the entire range of America's art colonies. The subject is interesting, but the required research is perhaps too elusive and overwhelming to pursue, as opposed to that of more general subjects such as American Impressionism, American Modernism, and American Realism.

The term "art colony" has become a descriptive but somewhat vague notion in the American language, sometimes referring to a place where artists once gathered and worked, sometimes to a place where the one-time art colony has evolved into a community in which art and artists are vital to the economy, and, more currently, a place where artists and art galleries are concentrated in a par-

-ix-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
American Art Colonies, 1850-1930: A Historical Guide to America's Original Art Colonies and Their Artists
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Introduction ix
  • Notes 1
  • Chapter 2 Cornish Art Colony 11
  • Notes 17
  • Chapter 3 Cos Cob Art Colony 19
  • Notes 23
  • Chapter 4 Cragsmoor Art Colony 25
  • Notes 28
  • Chapter 5 East Hampton Art Colony 31
  • Notes 36
  • Chapter 6 Gloucester-Rockport Art Colony 37
  • Chapter 7 Laguna Beach Art Colony 43
  • Notes 46
  • Chapter 8 Lawrence Park Art Colony 49
  • Notes 53
  • Chapter 9 New Hope Art Colony 55
  • Notes 61
  • Chapter 10 North Conway Art Colony 63
  • Notes 69
  • Chapter 11 Old Lyme Art Colony 71
  • Notes 80
  • Chapter 12 Provincetown Art Colony 83
  • Chapter 13 Santa Barbara Art Colony 93
  • Notes 96
  • Chapter 14 Santa Fe Art Colony 97
  • Chapter 15 Taos Art Colony 109
  • Chapter 16 Woodstock Art Colony 123
  • Notes 128
  • Bibliography 129
  • Index 139
  • About the Author 161
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
/ 170

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.