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62-573: Pond Farm (also known as Pond Farm Workshops ) was an American artists’ colony that began in the 1940s and, in one form or another, continued until 1985. It is located near the Russian River resort town of Guerneville, California , about 75 mi (120 km) north of San Francisco . Situated on a hilltop 600 ft (180 m) above the Armstrong Redwoods State Reserve , Pond Farm began around 1939-40 when

124-773: A Personnelman 3rd Class Petty Officer. He was also in Kyushu , Japan. He studied with Wildenhain at Pond Farm in 1964, then returned there for two additional summers, serving the third year as her teaching associate. He was faculty at the arts department of Luther College from 1964 to the 1970s. In 1968, he also studied with ceramic artist William Daley at Haystack Mountain School of Crafts . In 1970, while at Luther College in Decorah, Iowa (where he taught from 1964 to 1986), Schwarz co-founded South Bear School, an innovative summer arts school (pottery, painting, poetry, et al.) in

186-540: A San Francisco-based couple named Gordon and Jane Herr (architect and writer, respectively) acquired a portion of property called Rancho Del Lago or the Walker Ranch. Initially 250 acres (1.0 km), their property was later expanded to 400 acres (1.6 km). Because one of its primary features was a large pond, the Herrs renamed this setting Pond Farm. It includes two small residences and a historic barn repurposed as

248-533: A certain moral 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

310-926: A decade of research in Europe, UK and the US, Dean and Geraldine Schwarz compiled and edited a large format, 770-page anthology on the history and legacy of the German pottery tradition, titled Marguerite Wildenhain and the Bauhaus: An Eyewitness Anthology (South Bear Press). In this volume are essays, memoirs, diaries, letters, interviews and other written documents by or about such Bauhaus- or crafts-related persons as Josef Albers , Ruth Asawa , Theodor Bogler , Lyonel Feininger , Walter Gropius , Trude Guermonprez , Shoji Hamada , Bernard Leach , Otto Lindig , Gerhard Marcks , Daniel Rhodes , Peter Voulkos and Frans Wildenhain . In 2009, coincident with

372-559: A former hospital house in Highlandville, Iowa (population 30), adjacent to a trout stream called South Bear Creek. In 1976, South Bear School was relocated to a wooded rural property outside of Decorah in a vacant 65-room nursing home. Marguerite Wildenhain was a frequent visitor both there and at Luther College. In her later years, she advised new students to study first at South Bear before working with her in California. Since

434-552: A garden, built a house and, working with Gordon Herr, restored and redesigned a barn that became her pottery workshop. Later, in 1949, on property adjacent to the entrance of the Armstrong Redwood Forest, the Herrs began construction of a building called the Hexagon House, where students could be housed and fed, and where public gatherings could be held. Marguerite Wildenhain was the first artist to accept

496-503: A major presence at Rijsoord , 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 at Sint-Martens-Latem , Tervuren , Nagybanya , Kronberg , Staithes , Worpswede, and Willingshausen, while Skagen hosted mainly Danes and a few other Scandinavians. The greater number of early European art colonies were to be casualties of

558-435: 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

620-473: 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 as Concarneau 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

682-523: A pottery studio. Inspired by such precedents as the Bauhaus , Eliel Saarinen ’s Cranbrook Academy of Art , Black Mountain College , and Frank Lloyd Wright ’s Taliesin , the Herrs envisioned Pond Farm as an artists’ community that would in part support itself through summer workshops. According to their son (Jonathan Herr), Gordon Herr regarded Pond Farm as “a sustainable sanctuary for artists away from

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744-564: A restorer with an archaeological dig in Israel. In one of his trips, he met with the aging German sculptor Gerhard Marcks , who had been Wildenhain’s form master at the Bauhaus, and, in another, he and Geraldine Schwarz interviewed British potter Bernard Leach . These experiences, not unlike his earlier quest to visit the studios of famous potters, reflect his continuing interest in historical sleuthing, especially as it relates, non-exclusively, to

806-422: A supportive community of artists and an inspired landscape of natural dunes, woods and water. The desert town of Sedona, Arizona , became a Southwest artists' colony in the mid-20th century. Dadaist Max Ernst and 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. Amid

868-460: A warehouse on the second floor of a pre-Civil War former textile factory in the Olneyville district of Providence, Rhode Island . Started by artists and musicians Mat Brinkman and Brian Chippendale in 1995 and would be demolished to create a parking lot for a Shaw's grocery store and a Staples in 2002. In Delray Beach, Florida , a seasonal Artists and Writers Colony existed during

930-552: A world gone amuck,” while for Jane Herr, “it was a new beginning after rejecting conventional city upbringing” (Schwarz 2007, p. 315). Working together, the Herrs became able practitioners of homestead farming. They raised a wide variety of livestock; planted fruit orchards, nut trees and vegetable gardens; and established several fish ponds. In 1939, Gordon Herr traveled to Europe to search for artists whose beliefs and personalities might be compatible with his own. While in Putten ,

992-466: 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

1054-430: 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 as Aktionsanalytische Organisation ) flourished. Creative art was enthusiastically produced within such groups, which became gathering points for

1116-748: The Alliance of Artists Communities , in Providence, Rhode Island . Taiwan's Intra 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. Some painters were renowned within artistic circles for settling down permanently in a single village, most notably Jean-François Millet at Barbizon, Robert Wylie at Pont-Aven, Otto Modersohn at Worpswede, Heinrich Otto at Willinghausen, and Claude Monet at Giverny. They were not necessarily leaders, although these artists were respected and held

1178-718: 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 modernist movement as important artists from Manhattan traveled to Golden Heart Farm to escape the city and study with the couple. Another famous colony, Yaddo in Saratoga Springs

1240-468: The Maverick Colony, after seceding from Byrdcliffe in 1904. The town of Woodstock remains an active center of art galleries, music, and theatrical performances. The Roycroft community was an influential 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

1302-457: The University of Northern Iowa ), he developed an interest in ceramics , painting and other visual arts, and abruptly changed his major. He earned a Bachelor of Arts degree in 1960, and a Master of Arts in 1961. In 1960, he married Geraldine Fromm, a writer and literature teacher, with whom he raised six children. In their years together, he and his wife have traveled extensively throughout

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1364-485: The White House Collection (Washington, D.C.). In recent years, after a back injury, Schwarz has had to restrict his activities in the creation of wheel-thrown pottery. The large pots that he now creates are the collaborative effort of himself and his son, Gunnar Schwarz, in which the latter does the wheel-throwing, while Dean Schwarz designs the pots’ surfaces and applies the glazes. In 2007, their work

1426-535: The 1960s, Schwarz has been primarily known as an innovative ceramic artist, whose output is prolific. His work is represented in numerous private collections, and in the holdings of museums and universities throughout the world, including, among many others, the Museum of Art and Culture ( Wuhan , Hubei, China), University of Nottingham (Nottingham, England), Collection of King Olaf (Oslo, Norway), Pottery Museum (Mikawachi, Japan), Burg Giebichenstein (Halle, Germany) and

1488-554: 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

1550-537: The First World War. 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 of Ahrenshoop , Barbizon, Fischerhude , Katwijk, Laren, Sint-Martens-Latem, Skagen, Volendam, Willingshausen, and Worpswede not only still operate in

1612-683: The Herrs’ invitation to join the Pond Farm Workshops. In 1947, they were joined by Frans or Franz Wildenhain, who, having been drafted into the German Army during World War II, had been separated from his wife for seven years. Franz would teach sculpture, while two other European artists who joined the colony in 1949, Trude Guermonprez and Victor Ries, taught weaving and metals, respectively. Gordon Herr taught architecture, and Jane Herr served as an informal business manager. In addition to

1674-537: The Indians , edited by John Nellermoe and Dean Schwarz (South Bear Press, 1979). In 2004, nearly twenty years after Wildenhain’s death, they produced a second volume pertaining to her life, titled Marguerite A Diary to Franz Wildenhain , edited by Dean Schwarz, consisting of her diary-like letters (never posted) to her husband, Bauhaus potter Franz Wildenhain , during their wartime separation in 1940, when his whereabouts were unknown. More recently, in 2007, after more than

1736-613: 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. 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

1798-595: The Nazis invaded Poland, they wrote to Herr, asking if his offer stood. It did, and on March 3, 1940, Marguerite departed for the U.S. Her husband, however, was left behind, because the quota for German citizens had been filled. She was Jewish, he was not. Eventually, Marguerite Wildenhain ended up in California and (having explored other options) decided to join the Herrs’ Pond Farm Workshops. She moved to Pond Farm in 1942, helped to put in water lines, established

1860-610: The Netherlands , he met the proprietors of the Het Kruike (Little Jug) pottery shop. They were Frans Wildenhain and his wife Marguerite Wildenhain (née Friedlaender), who had moved to Holland from Germany, where both had studied pottery at the Weimar Bauhaus . Herr urged them to emigrate to the U.S., in order to become a part of Pond Farm Workshops. The Wildenhains hesitated initially, but only six months later, when

1922-1330: The State of California and became part of Austin Creek State Recreation Area . In 2013, the site was awarded $ 443,245 in Prop 84 Cultural Stewardship funding to stabilize and the house and barn. The site has been designated a "National Treasure" by the National Trust for Historic Preservation. The complex was added to the National Register of Historic Places in 2014, and was designated a National Historic Landmark in 2023. 38°33′08″N 123°00′00″W  /  38.552171°N 122.999991°W  / 38.552171; -122.999991 Art colony Early 20th century American guest-host models include MacDowell in Peterborough, New Hampshire and Yaddo in Saratoga Springs, New York . Two primary organizations serving artist colonies and residential centres are Res Artis in Amsterdam , and

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1984-503: The State of California had used its powers of eminent domain to require Pond Farm residents to sell their property to the state, in order to expand the Austin Creek State Recreation Area . Gordon Herr was forced to move, but, in response to appeals by her students, it was decided that Wildenhain could continue to live on the property until her death. When Wildenhain died in 1985, her property reverted to

2046-741: 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

2108-452: 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

2170-583: 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

2232-446: The area became an artistic center—though not a formal, funded art colony providing artists with aid, as Yaddo and MacDowell do. 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. Dean Schwarz Dean Lester Schwarz (born 1938) is an American ceramic artist, painter, historian, writer, publisher, and teacher. He

2294-515: 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

2356-618: 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 the Carmel Arts and Crafts Club to support artistic works. The artists at Carmel-by-the-Sea, California coalesced in 1905 and incorporated their art gallery and meeting rooms

2418-760: 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. Its well-funded, well-organized campus, and extensive program of fellowships, were soon replicated by early 20th-century artist colonies and their wealthy benefactors. The MacDowell Colony in Peterborough

2480-461: 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 former Kunsthaus Tacheles , continued to flourish. Today's art communes are

2542-1043: 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 as Honfleur , Giverny , Katwijk , Frauenchiemsee , Volendam , and Willingshausen . 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 include Ahrenshoop , Barbizon , Concarneau , Dachau , St. Ives , Laren , and Skagen . 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 as Egmond , Sint-Martens-Latem , Newlyn , and Worpswede . While artist colonies appeared across Europe, as well as in America and Australia,

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2604-781: The development of early 20th-century American furniture, books, lamps and metalwork. 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. In 1973, Edna St. Vincent Millay 's sister Norma created the Millay Colony for the Arts at the historic site of Steepletop in Austerlitz . The Provincetown art colony came into being when Charles Webster Hawthorne opened his Cape Cod School of Art there in

2666-415: 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 , and Tervuren probably being among the most insensitively commercialised of the former art colonies. An art commune is a communal living situation colony where collective art

2728-573: The general public with classical painting traditions. The 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

2790-399: The majority of colonies were clustered in the Netherlands, Central Germany, and France (encircling Paris). Overall, artists of thirty-five different nationalities were represented throughout these colonies, with Americans, Germans and British forming the largest participating groups. This gave socialising a cosmopolitan flavour: "Russia, Sweden, England, Austria, Germany, France, Australia and

2852-479: The resident artists, others participated as visiting artists and instructors, including Jean Varda (collage), David Stewart (sculpture and pottery), Claire Falkenstein (painting), Lucienne Bloch (fresco), Stephen Dimitroff (fresco), Harry St. John Dixon (metals) and others. It appears that the Workshop's first summer session took place in 1949. Unfortunately, it would close only a few years later in 1953. Given

2914-632: 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

2976-595: The same time period, one of the Herr children died of mushroom poisoning, the Wildenhains’ volatile marriage collapsed, and Jane Herr developed breast cancer and died in 1952. When Pond Farm Workshops fell apart in 1953, nearly all the residents left. Thereafter, a school and workshop on the site, called Pond Farm Pottery, were carried on by the community's only remaining artist, Bauhaus potter Marguerite Wildenhain, who continued to offer instruction through 1980. Wildenhain

3038-456: The strong survival instincts of the artists, they soon proved incompatible. In the words of Tim Tivoli Steele (the Herrs’ grandson), “In the end, the trait that all the artists had relied on to survive the war and follow their visions—the strength of their personalities—would also contribute to the demise of the Workshops. Constant bickering tore the group apart” (Steele 1992, p. 3). Around

3100-534: The summer of 1899. The art school attracted other artists, and expanded the colony, which led to the foundation of the Provincetown Art Association . By 1916, a Boston Globe headline reported the "Biggest Art Colony in the World at Provincetown." Provincetown claims to be the oldest continuously operating artist's colony in the United States. The Fort Thunder art commune was located in

3162-466: The tradition of ceramic art. Related to those inclinations, he and/or Geraldine Schwarz (often in collaboration with others) have written, compiled and sometimes published books having to do with historic issues, both local and international. Among these, for example, are Conversations with the Recent Past (Luther College Press, 1975), a collection of oral history interviews with rural residents in

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3224-543: The vicinity of Decorah, Iowa; and Paddled Tails from Tattled Tales: An Autobiography of a Family (South Bear Press, 2001), consisting of archival photographs and oral history interviews of their own family members. In the late 1970s, the Schwarz family launched a small book publishing company called South Bear Press, the first consequence of which was the publication of the third and final book authored by Marguerite Wildenhain, titled …That We Look and See: An Admirer Looks at

3286-616: The winter months from the mid-1920s until the early 1950s. The Delray Beach enclave was noted for attracting many famous cartoonists of the era. 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

3348-525: The world and have often collaborated on books and other projects. While serving in the U.S. Navy in the early 1960s, he used his shore leaves to visit the studios of world famous potters, notably Shoji Hamada in Japan, and Bauhaus-trained Master Potter Marguerite Wildenhain at Pond Farm near Guerneville, California . He was stationed at a naval reserve unit in Waterloo, Iowa and at Cedar Falls, Iowa as

3410-399: Was active at Barbizon, Egmond, Katwijk, Laren, Blaricum , Volendam, and Oosterbeek ; Elizabeth Armstrong Forbes painted at Pont-Aven, Zandvoort , Newlyn and St Ives. 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

3472-647: Was also the co-founder of the South Bear School (1970–present) by which he imparted to students a tradition of functional studio pottery . In the late 1970s, he founded the South Bear Press. Schwarz was born and raised in Cedar Rapids, Iowa , a city with historical links to Regionalist painter Grant Wood . The son of a welder, his initial interests were in athletics. As an undergraduate student at Iowa State Teachers College (now called

3534-742: Was featured in a large retrospective exhibition of Schwarz pottery (along with representative works by Marguerite Wildehain), titled Dean and Gunnar Schwarz: Pottery Form and Inherent Expression , at the Gallery of Art at the University of Northern Iowa (Schwarz’s alma mater). In 1971, Schwarz was awarded a Fulbright-Hays Research Fellowship to study and teach ceramics in South Korea. At various other times, he has studied traditional pottery in Japan, researched Pre-Columbian pots in Panama, and worked as

3596-626: Was founded in 1907 by composer Edward 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 and Wilhelmina Weber Furlong of

3658-434: 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 Art Colony in the town of the same name began as two colonies. Originally known as Byrdcliffe , it was founded in 1902 by Ralph Radcliffe Whitehead , Hervey White , and Bolton Brown . Two years later, Hervey White renamed it

3720-436: Was known for being thorough in her teachings, making newcomers start with dog dishes and learning all of the throwing steps before moving on to more advanced pottery. Among her students was Dean Schwarz , co-founder of South Bear School, who studied at Pond Farm during the 1960s. University of Utah Professor of Art, Dorothy Bearnson, participated in seven summer workshops with Wildenhain between 1947 and 1964. As early as 1963,

3782-582: 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,

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3844-653: 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 . John Cunningham began at

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