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An art colony or artists' colony is a place where creative practitioners live and interact with one another. Artists are often invited or selected through a formal process, for a residency from a few weeks to over a year. Beginning with the early 20th century models, such as MacDowell Colony and Yaddo, hundreds of modern-day artist colonies now offer the benefit of time, space, and collaborative time away from the usual workaday world. Worldwide, the two primary organizations serving artist colonies and residential centres are Res Artis, based in Amsterdam, and the Alliance of Artists Communities, based in Providence, Rhode Island. The Intra Asia Network, based in Taiwan, is a less formal body working to advance creative communities and exchanges throughout Asia. These consortia comprise most of the world's active artists' colonies.
The art movement itself has only started to be investigated by scholars, with the chief historical studies consisting of Michael Jacobs's introductory The Good and Simple Life and Nina Lübbren's Artists’ Colonies in Europe 1870-1910.
- 1 Formative period in Europe
- 2 American colonies
- 3 Eastern European colonies in the 20th and 21st century
- 4 Other notable examples
- 4.1 Europe
- 4.2 Australia
- 4.3 Americas
- 5 See also
- 6 References
- 7 External links
Formative period in Europe
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 eighty communities. There seem to have been three chief forms of these settlements, consisting of
- villages with transient and annually fluctuating populations of artists—mostly painters who visited for just a single summer season (such as Honfleur, Giverny, Katwijk, Frauenchiemsee, Volendam, and Willingshausen);
- villages with a semi-permanent mix of visiting and resident artists (Ahrenshoop, Barbizon, Concarneau, Dachau, St. Ives, Laren, and Skagen); and
- villages in which a largely stable group of artists decided to settle permanently (Egmond, Sint-Martens-Latem, Newlyn, and Worpswede).
In the latter villages, artists invariably bought or built their own houses and studios.
While artist colonies appeared across Europe, as well as in America and Australia, Lübbren has found that 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 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 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.
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 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 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, and Oosterbeek; Elizabeth Armstrong Forbes painted at Pont-Aven, Zandvoort, Newlyn and St Ives.
The greater number of early European art colonies were to be casualties of 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 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 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.
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. 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 Provincetown art colony came into being when Charles Webster Hawthorne opened his Cape Cod School of Art there in the summer of 1899. Other noted artists arrived and expanded the colony. In 1914 the Provincetown Art Association was founded. Business and professional people from the community as well as established artists provided the initial leadership and by 1916, a Boston Globe headline read "Biggest Art Colony in the World at Provincetown."  Provincetown claims to be the oldest continuously operating artist's colony in the United States.
The Woodstock Art Colony in Woodstock, New York began as two colonies: first Byrdcliffe, founded in 1902 by Ralph Radcliffe Whitehead, Hervey White, and Bolton Brown, and then the Maverick Colony, founded by Hervey White after seceding from Byrdcliffe in 1904. The town of Woodstock remains an active center of art galleries, music, and theatrical performances.
The high desert town of Sedona, Arizona, became a Southwest artists' colony from the mid-20th century. Modernists Max Ernst and 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. Among 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 MacDowell Colony in Peterborough, N. H., was founded in 1907 by composer Edward MacDowell and his wife, Marian. MacDowell was inspired by his knowledge of 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.
In upstate New York on Lake George Golden Heart Farm art colony the summer residence of Thomas and Wilhelmina Weber Furlong of the Art Students League of New York opened in the summer of 1921. The colony and artists in residence activity 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
In Maryland, the Mid-Atlantic Plein Aire Company, most notable for the involvement of artist William David Simmons, is to this day active in its mission to bring local artists in touch with classical painting traditions.
Another famous colony, Yaddo in Saratoga Springs, N.Y., soon followed. 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.
Ox-Bow School of Art and Artists' Residency was founded in 1910 by Frederick Fursman and Walter Marshall Clute, two faculty members 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. Ox-Bow is located in Saugatuck, Michigan.
In Delray Beach, Florida, a seasonal 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 cartoonists of the era.
The Taos art colony in Taos, New Mexico is an example of more spontaneous development. 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. An influential art colony in New York was the Roycroft community. Nearby was the cabin of the Saturday Sketch Club used by Buffalo art students who specialized in outdoor oil painting.
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.
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 illustrious instructors Armin Hansen and Paul Dougherty.
Eastern European colonies in the 20th and 21st century
Many art colonies continue across Eastern Europe in Bulgaria, Slovenia, Croatia, North Macedonia and Serbia. They are organised by a range of bodies including city councils, monasteries, private collectors and artists. Generally the colonies only exist for a few weeks each year as many of the participants work on an academic calendar. Some of the colonies (Stumista) have been in existence for over 40 years and their reputation allows them to attract a range of international artists. Some examples of these groups may be found at:
- Gamzigrad - Serbia
- Ohrid Colony Ramazzoti - North Macedonia
- Strumitsa - North Macedonia
- Veles - North Macedonia
Other notable examples
- Argenteuil (Monet, Sysley then Signac)
- Auvers-sur-Oise (Van Gogh, Gauguin)
- Barbizon (Rousseau, Millet)
- Ceret (Soutine, Krémègne, Masson, Marquet)
- Étaples (Henri Le Sidaner, then English-language Impressionists and Post-Impressionists between 1890-1914)
- Giverny (Monet)
- Grez-sur-Loing (Corot, Larsson)
- Pont-Aven and Le-Pouldu (Gauguin, Sérusier)
- Chipping Campden, Gloucestershire
- Ditchling, Sussex
- Glasgow School, Glasgow
- Newlyn, Cornwall (Stanhope Forbes, Laura Knight, Gotch, Tayler, Tuke)
- St. Ives, Cornwall (Hepworth)
- Staithes, North Yorkshire (Laura Knight, Anderson, Bagshawe, Barrett, Booth)
- Walberswick (Suffolk) (Steer, Keens)
- Cockburnspath (Lammermuir) (Guthrie, Cawhall, Melville)
- Kirkcudbright (Dumfries) (Glasgow School)
- The Holland Park Circle, Holland Park, West London (George Frederic Watts, Frederic Leighton, Val Prinsep, Luke Fildes, William Burges, Hamo Thornycroft, Marcus Stone, William Holman Hunt)
- Åsgårdstrand, Norway
- Bergen, North Holland
- Nida (also known as Nidden)
- Epreskert Art Colony, Budapest
- Nagybánya (today Baia Mare, Romania)
- Százados Road Art Colony, Budapest
- Artists' camps, around Sydney harbour, Australia (1880s to 1890s)
- Montsalvat, Melbourne, Australia (1930s to present)
- Arden, Delaware
- Berkeley, California
- Bolinas, California
- Brandywine School, Chadds Ford, Pennsylvania
- Brattleboro, Vermont
- Brown County Art Colony, Brown County, Indiana
- Bug Tussle, Alabama
- Byrdcliffe Colony, Woodstock, New York 
- Carl Street Studios, Old Town, Chicago
- Carmel-by-the-Sea, California
- Cornish Art Colony, Cornish, New Hampshire
- Cos Cob, Connecticut
- Delray Beach, Florida
- Eagle's Nest Art Colony
- East Aurora, New York, Roycroft campus
- Galena, Illinois
- Gloucester, Massachusetts
- Grand Marais, Minnesota
- Greenwich Village, New York City
- Headlands Center for the Arts, Fort Barry, California
- Hudson, New York
- Isles of Shoals, Maine/New Hampshire
- Jerome, Arizona
- Laguna Beach, California
- MacDowell Colony, Peterborough, New Hampshire
- Marfa, Texas
- Millay Colony, Austerlitz, New York
- Monhegan, Maine
- Montclair, New Jersey
- Monterey, California
- Nespelem, Washington
- New Hope, Pennsylvania
- New Rochelle artist colony, New Rochelle, New York
- Nook Farm, Connecticut
- Norman, Oklahoma
- North Conway, New Hampshire
- Nyack, New York
- Oakdale, New York
- Oakland, California
- Old Lyme Art Colony, Old Lyme, Connecticut
- Ogunquit, Maine
- Pacific Grove, California
- Palenville, New York
- Pond Farm, Guerneville, California
- Provincetown, Massachusetts
- Ragdale, Lake Forest, Illinois
- Richmond Group, Richmond, Indiana
- Rockport, Massachusetts
- Santa Fe art colony, Santa Fe, New Mexico
- Sausalito, California
- Shinnecock Hills Summer School of Art,
- Silvermine, Connecticut
- Skowhegan, Maine
- South Mountain Road, New City, New York
- St. Augustine, Florida
- Stone City Art Colony, Stone City, Iowa
- Taos, New Mexico
- The Studios of Key West, Florida
- Tree Studio Building and Annexes, Chicago, Illinois
- Ucross Foundation, Wyoming
- Village of the Arts, Bradenton, Florida
- Virginia Center for the Creative Arts, Amherst, Virginia
- The Wassaic Project, Wassaic, New York
- Williamsburg, Brooklyn, New York City
- Woodstock, New York 
- Yaddo, Saratoga Springs, New York 
- Jacobs, Michael (1985). The Good and Simple Life: Artist Colonies in Europe and America. Phaedon.
- Lübbren, Nina (2001). Rural Artists' Colonies in Europe 1870-1910. Manchester University Press.
- Provincetown History: The Art Colony, A Brief History
- Provincetown Tourism Office Archived July 16, 2014, at the Wayback Machine
- The Maverick: Hervey White's Colony of the Arts, exh. cat. Woodstock: Woodstock Artists Association and Museum, 2006.
- 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
- Credle-Rosenthal, McCall (2003). Images of America: Delray Beach. Charleston, South Carolina: Arcadia Publishing. pp. 43–60. ISBN 978-0-7385-1570-0. Retrieved 2015-01-19.
- Sandy Simon (1999). Remembering: A History of Florida's South Palm Beach County 1894-1998. The Cedars Group. ISBN 0-9669625-0-8.
- Shipp, Steve (1996). American Art Colonies, 1850-1930: A Historical Guide to America's Original Art Colonies and Their Artists. Greenwood Publishing. pp. 159. ISBN 9780313296192.
- Edwards, Robert W. (2012). Jennie V. Cannon: The Untold History of the Carmel and Berkeley Art Colonies, Vol. 1. Oakland, Calif.: East Bay Heritage Project. pp. 47–105, 132–150, 177–236. ISBN 9781467545679. An online facsimile of all of Vol. 1 is posted at the Traditional Fine Arts Organization Archived April 29, 2016, at the Wayback Machine.
- Trans artists art colonies, Emma Lake, Saskatchewan Retrieved October 15, 2011
- NY Times, Woodstock Art Colony tells its story Retrieved October 15, 2011
- Shinnecock Hills, New YorkSolon, Deborah Epstein. "Art Colonies and American Impressionism". Traditional Fine Arts Organization. Retrieved 2 August 2018.
- NY Times, Yaddo Artist Colony names new President Retrieved October 15, 2011
- ArtistCommunities.org Artist colonies in the US