The Carmel Pine Cone November 7, 2014
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This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ A WORLD ELSEWHERE ART COLONIES IN CALIFORNIA AND NEW MEXICO, 1900-1940 Essen, Jennifer Michelle Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 A WORLD ELSEWHERE: ART COLONIES IN CALIFORNIA AND NEW MEXICO, 1900-1940 Jennifer Essen PhD American Studies King’s College London October 2016 1 For myself (after Georgia O’Keeffe) 2 Abstract This thesis analyses the distinct form of art colony that flourished in Carmel, California and Santa Fe and Taos, New Mexico, in the opening decades of the twentieth century. -
Birth of the Carmel Art Colony (1896-1909)
39 Chapter Two – Western Frontiers: Birth of the Carmel Art Colony (1896-1909) Why in 1896 would a twenty-seven-year-old woman, who had just expended a considerable amount of time, money and personal effort to complete a college education in the humanities, suddenly relinquish her new appointment as Assistant Principal and travel across the country to a university of modest reputation and one without a graduate program in the very major she sought to pursue? The answer is Bolton Coit Brown.1 By the late 19th century Brown had developed a strikingly different reputation as a painter and a proponent for a new aesthetic ethos. His philosophy was synthesized from the works of John Ruskin, a contemporary English social theorist and art critic, and William Morris, an immensely influential artist, craftsman and social reformer. From May of 1889, when Brown left his position as the Instructor in Drawing at Cornell University, until September of 1891, when he established the Department of Drawing and Painting at Stanford University, he traveled extensively in the Midwest to lecture, paint and tutor. It was during his lengthy visit to St. Paul that Jennie Vennerström met the ruggedly handsome, charismatic exponent of plein air painting. His own style rejected most of the tenets of the Barbizon school in favor of a more open palette. He stressed the necessity of the rapid execution of “natural subjects” in the wilderness. One critic characterized Brown’s thirty-two paintings on exhibition at Stanford as having a “striking artistic harmony” and colors that were “glowing, sunny, and warm.”2 Jennie, who may have been intimidated by the cliquish studio traditions of the Midwest and East, saw an opportunity to thrive on the Pacific shores. -
Berkeley's First Art Colony
72 Chapter Three – Sanctuary: Berkeley’s First Art Colony (1906-1911) If an art colony consists of individuals who have migrated to a specific place in order to live in close association, share common aesthetic interests and receive institutional support in a sympathetic community that recognizes the cultural and economic importance of artists,1 then Berkeley between 1850 and 1905 did not satisfy these requirements. In sharp contrast to the nearby “Sodom of San Francisco,” this rural town was incorporated in 1878 with the intent of creating a “sober bayside municipality” for the University of California which officially moved from Oakland to its present campus in 1873.2 Berkeley’s charm and stunning location at the base of the forested coastal hills enticed many artists who needed a convenient weekend escape from their San Francisco associates and “a venue of inspiration” to sketch in unfettered nature.3 Sightings of mountain lions and deer were frequent. Eventually, the lure of this bucolic haven attracted three major figures from the art world as permanent settlers. The “Dean” among the California painters, William Keith, moved to Berkeley in 1886 and lived near the campus until his death in April of 1911. Despite his spiritual attachment to the local oak trees, Keith commuted for many years on the ferry to his San Francisco studio and sold his paintings there or in that city’s galleries. The tightly controlled social life of this rather shy temperamental painter revolved around the literati of the University of California and visiting naturalists, such as John Muir, not his fellow artists.4 Edwin Deakin, one of the region’s most famous and versatile painters, purchased in 1890 a large tract of land along the south Berkeley border and built a Mission-style studio-home on Telegraph Avenue. -
~-"'-I1 ;C-+-'1 L.~?+-1 , , 8 , Date Copyright 1989 by Barry Eisenberg
AN HOMAGE TO JAIME DE ANGULO: A NORTH AMERICAN OVID by Barry Eisenberg A thesis submitted to Sonoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English Dr. Gerald Haslam, Chair Dr. Dr. ~-"'-I1_;c-+-'1_l.~?+-1_,_, 8 , Date Copyright 1989 By Barry Eisenberg ii AUTHORIZATION FOR REPRODUCTION of MASTER'S THESIS ~I grant permission for the reproduction of parts of this thesis without further authorization from me, on the condition that the person or agency requesting reproduction absorb the cost and provide ~proper acknowledgement of authorship, _____ Permission to reproduce this thesis in its entirety must be obtained from me. DATED # iii AN HOMAGE TO JAIME DE ANGULO; A NORTH AMERICAN OVID Thesis by Barry Eisenberg ABSTRACT Purpose of the Study: Linguist, story-teller, poet, novelist, illustrator, scholar, homesteader, vaquero, wild-man, sorcerer's apprentice, Jaime de Angulo was a legendary figure in his own time. The scholars and artists he associated with and influenced, such as Carl Jung, Franz Boas, Carl Sauer, Bronislaw Malinowski, Robinson Jeffers and Ezra Pound, make up a veritable "Who's Who" of the first half of this century. But, because of his fame as a linguist rather than an author and poet, his eccentricities, and a self-imposed public silence between 1936 and 1949, his literary achievements remain relatively unknown. The purpose of this study is to collate the various and disparate biographical material written about de Angulo, separating fact from legend where it's possible, presenting the reader with an accurate chronology, and to present the first major book-length critical examination of de Angulo's literary wriiting. -
Published Occasionally by the Friends of the Bancroft Library University of California, Berkeley 4, California
PUBLISHED OCCASIONALLY BY THE FRIENDS OF THE BANCROFT LIBRARY UNIVERSITY OF CALIFORNIA, BERKELEY 4, CALIFORNIA Number 25 • March 1061 Annual Meeting Rocky Mountains. A few pertain to Drips' earlier life as a trader, including an important SPEAKER at the Annual Meeting on April 23 letter of 1830 from Lucien Fontenelle. Major will be Susanna Bryant (Mrs. Richard Y.) Drips, who was born in Pennsylvania in 1789, Dakin, author of numerous books and articles died at Westport, Missouri, in i860. on California history. Her topic "Rose, or Rose Thorn," is intriguing, especially since it will deal with California women. "We can read Perc S. Brown widely in California history," says Mrs. Dakin, "without detecting the presence of women in the early period. In fact, we learn of them only by inference, when second and third generations—sons and grandsons—troop after the earliest settlers into Bancroft's Pio neer Register." The Annual Meeting will be held on Sun day, April 23, 1961, in the Bancroft Library, Berkeley Campus. Mr. O. Cort Majors (U. C. '21), chairman, will tap the gavel at 3:00 p.m. There will be a special exhibit and some surprising, but pleasant, announce ments. Parking facilities will be available. Fur Trade Papers THE BANCROFT LIBRARY'S fur trade manu scripts have been enriched by a fine group of papers of Andrew Drips, the gift of his granddaughter, Mrs. Catherine Branch, and her daughter, Mrs. Richard B. Hershey, both PERC S. BROWN (right), well-known Bay of Los Angeles. Fred Rosenstock, the dis Area bibliophile, presents three special gifts tinguished Denver publisher and antiquarian to Bancroft's director, George P. -
William Merritt Chase and Carmel (1914)
132 Chapter Five – The Turning Point: William Merritt Chase and Carmel (1914) The complicated and at times searing events that Jennie Cannon either initiated or witnessed in 1914 can best be understood with introductory remarks on the two protagonists: William Merritt Chase and the “gentry” of Carmel. The affairs of that summer led to the retirement of the former and ended the retirement of the latter. In 1914 no North American artist was more accomplished or flamboyant than William Merritt Chase.1 He was born on November 1, 1849 in Williamsburg, Indiana. Chase left Indianapolis twenty years later on the advice of his first art teacher, Barton S. Hays, to study at New York’s National Academy of Design. Thereafter, he briefly settled into a marginal career as a still-life painter in St. Louis. With the help of a generous private grant he began his European studies in 1872 at München’s Royal Academy under Alexander von Wagner and later with Karl von Piloty. In Bavaria he established a number of close friendships, especially with the group of artists under the spell of Frank Duveneck. He developed a deep empathy for German academic traditions and learned that the most successful artist was the one who captivated the public with his personality as well as his skills. Upon his return to New York in 1878 Chase assumed a teaching post at the Art Students League where he quickly became a revered figure and began the process of building his grand persona. He miraculously acquired the highly coveted Tenth-Street studio of Albert Bierstadt and decked out the interior with Persian carpets, potted ferns, Venetian tapestries, Egyptian urns, stuffed flamingoes, Japanese parasols, swords, drums and the most exotic objets d’art. -
California Faces: Selections from the Bancroft Library Portrait Collection
http://oac.cdlib.org/findaid/ark:/13030/tf4z09p0qg Online items available California Faces: Selections from The Bancroft Library Portrait Collection Processed by California Heritage Digital Image Access Project staff in The Bancroft Library. The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] 1997 The Regents of the University of California. All rights reserved. California Faces: Selections from Various 1 The Bancroft Library Portrait Collection California Faces: Selections from The Bancroft Library Portrait Collection Collection number: Various The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] Finding Aid Author(s): Processed by California Heritage Digital Image Access Project staff in The Bancroft Library. Finding Aid Encoded By: GenX Copyright 1997 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: California Faces: Selections from The Bancroft Library Portrait Collection Collection Number: Various Physical Description: 1,648 images selected from The Bancroft Library's Portrait Collection ; various sizes1648 digital objects (1,659 images) Repository: The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] Languages Represented: Collection materials are in English Access Collection is available for use. Publication Rights Some materials in these collections may be protected by the U.S. Copyright Law (Title 17, U.S.C.). In addition, the reproduction of some materials may be restricted by terms of University of California gift or purchase agreements, donor restrictions, privacy and publicity rights, licensing and trademarks. -
Historic Context Statement Carmel-By-The-Sea
HISTORIC CONTEXT STATEMENT CARMEL-BY-THE-SEA Prepared For The City of Carmel-by-the-Sea By Teresa Grimes and Leslie Heumann Leslie Heumann and Associates September 1994 Revised By Glory Anne Laffey Archives & Architecture May 31, 1996 Adopted January 7, 1997 Updated By Architectural Resources Group, Inc. Adopted by City Council September 9, 2008 Certified by the California Coastal Commission November 12, 2008 TABLE OF CONTENTS 0.0 Preamble. ... 4 1.0 Introduction 1.1 The Historic Context Statement . 4 1.2 Location and Boundaries of Carmel-by-the-Sea . 5 1.3 Community Character and Values . 5 1.4 Overview of Themes . 5 1.5 Gender and Ethnicity . 6 2.0 Prehistory and Hispanic Settlement (1542-1846) 2.1 The Original Inhabitants . 7 2.2 Early European Exploration . 7 2.3 Hispanic Settlement . 8 2.4 Associated Property Types . 10 2.4.1 Identification . 10 2.4.2 Description . 11 2.4.3 Significance ……….. …….. 11 3.0 Economic Development (1846-1965) 3.1 Early Agriculture and Industry . 12 3.1.1 Ranching and Farming . 12 3.1.2 Whaling and Fishing Industries . 13 3.1.3 Extractive Industries . 14 3.2 Business and Tourism . 15 3.2.1 Real Estate . 15 3.2.2 Ocean Avenue Business District . 19 3.2.3 Tourism . 22 3.3 Transportation . 24 3.4 Associated Resource Types . 25 3.4.1 Identification . 25 3.4.2 Description . 25 3.4.3 Significance …... 27 4.0 Government, Civic and Social Institutions (1903-1965) 4.1 Civic Development and Incorporation . 28 4.2 Public Services . -
Martinezsfartists00elsirich.Pdf
University of California Berkeley Bancroft /Berkeley University of California Library Regional Oral History Office Elsie Whitaker Martinez SAN FRANCISCO BAY AREA WRITERS AND ARTISTS With an Introduction by Franklin D. Walker Professor of English, Emeritus An Interview Conducted by Franklin D. Walker and Willa Klug Baum Berkeley 1969 All uses of this manuscript are covered by a legal agreement between the Regents of the University of California and Elsie Whitaker Martinez, dated April 10, 1964. The manuscript is thereby made avail able for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to the Bancroft Library of the University of California at Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California at Berkeley. Requests for permission to quote for publication should be ad dressed to the Regional Oral History Office, 486 Library, and should include identification of the specific passages to be quoted, antici pated use of the passages, and identification of the user. The legal agreement with Elsie Whitaker Martinez requires that she be notified of the request and allowed thirty days in which to respond. INTERVIEWS ON LITERATURE, ART, AND PHOTOGRAPHY IN THE SAN FRANCISCO BAY AREA The following interviews have been completed by the Regional Oral History Office, a department of The Bancroft Library. The Regional Oral History Office was established to tape-record autobiographical interviews with persons who have contributed significantly to the development of the West. The Office, headed by Willa Baum, is under the administrative supervision of the director of The Bancroft Library.