![](media/image1.wmf)

**A List of Members**

**Adeline Adams** (1859-1948)- author, contributor of art reviews for
magazines

**Herbert Adams** (1858-1945)- sculptor

**John White Alexander** (1856-1915)- painter

**Robert L. Barrett** (1871-1969)- geographer, explorer, writer

**Ethel Barrymore** (1879-1959)- actress

**Ernest Harold Baynes** (1868-1925)- naturalist

**Charles Cotesworth Beaman**

(1840-1900)- lawyer, friend of Augustus Saint-Gaudens and responsible
for bringing him to Cornish.

**John Blair** (1875-1948)- actor

**George deForest Brush** (1855-1941)- painter

**Witter Bynner** (1881-1968)- writer, editor

**Winston Churchill** (1871-1947)- American novelist

**Allyn Cox** (1896-1982)- son of Kenyon Cox; painter of murals

**Kenyon Cox** (1856-1919)- art critic, painter

**Louise Cox** (1865-1945)- painter, especially of children

**Herbert Croly** (1869-1930)- writer, political philosopher, editor of
*The New Republic* and *The Architectural Record*

**Walter Damrosch** (1862-1950)- musician

**Clara Davidge** (1858-1921)-

patron of the arts

**Joseph DeCamp** (1858-1923)- artist

**Maria Oakey Dewing** (1845-1927)- painter

**Thomas Wilmer Dewing** (1851-1938)- portrait painter, a member of
\"The Ten\"

**Frances Duncan** (1877-1972)-

horticulture writer

**Isadora Duncan** (1878-1927)- dancer

**Peter Finley Dunne** (1867-1936)- writer

**John Elliot** (1859-1925)- painter, muralist

**Barry Faulkner** (1881-1966)- muralist

**Admiral William Mayhew Folger**

(1844-1928)- retired admiral

**James Earle Fraser** (1876-1953)- sculptor

**Henry Brown Fuller** (1867-1934)- painter

**Lucia Fairchild Fuller** (1872-1924)- miniature painter

**Frances Grimes** (1869-1963)- sculptor

**Learned Hand** (1872-1961)-

Federal Judge for 52 years

**Norman Hapgood** (1868-1937)- journalist, publisher

**William Howard Hart** (1863-1937)- painter

**Frances Houston** (1851-1906)- portrait painter, goldsmith

**William Henry Hyde** (1856-1943)- painter, illustrator

**Albion Lang** (1849-1938)- industrialist

**Ernest Lawson** (1873-1939)- painter

**Annie Lazarus** (1859-1945)-

patron of the arts

**Philip Littell** (1868-1943)- writer, publisher

**Percy MacKaye** (1875-1956)- poet, playwright

**Frederick W. MacMonnies** (1863-1937)- sculptor

**Paul Manship** (1885-1966)- sculptor

**Willard Metcalf** (1858-1925)- painter, especially of landscapes

**William Vaughn Moody** (1869-1910)- poet, playwright

**Rose Standish Nichols** (1872-1960)- writer, landscape designer

**Anne Bogardus Parrish** (1878-1966)- sculptor; niece of Stephen
Parrish

**Maxfield Parrish** (1870-1966)- painter, illustrator

**Stephen Parrish** (1846-1938)- etcher, painter

**Charles A. Platt** (1861-1933)- painter, etcher, landscape designer,
architect

**Edith Prellwitz** (1865-1944)- painter

**Arthur Henry Prellwitz** (1865-1940)- painter

**George Rublee** (1868-1957)- lawyer, diplomat

**Juliet Barrett Rublee** (1875-1966)- dancer, patron of the arts

**Augustus Saint-Gaudens** (1848-1907)- sculptor

**Annetta Johnson St. Gaudens** (1869-1943)- sculptor; wife of Louis St.
Gaudens

**Carlota Dolley Saint-Gaudens**

(1884-1927)- miniature painter, wife of Homer Saint-Gaudens

**Homer Saint-Gaudens** (1880-1958)- art critic, Director of the
Carnegie Institute Museum of Art, son of Augustus

**Louis St. Gaudens** (1854-1913)- sculptor,

brother to Augustus Saint-Gaudens

**Paul St. Gaudens** (1900-1954)- sculptor, potter, son of Louis and
Annetta

**Everett Shinn** (1876-1953 painter, illustrator, member of \"The
Ashcan School\"

**Florence Scovel Shinn** (1869-1940)- illustrator

**Ellen Shipman** (1869-1950)- landscape designer

**Louis Evan Shipman** (1869-1933)- poet,

playwright

**Henry Fitch Taylor** (1853-1925)- painter,

organizer of The Armory Show in 1913

**William Ladd Taylor** (1854-1926)- artist,

illustrator

**Harry Dickinson Thrasher** (1883-1918)- sculptor

**Robert Vonnoh** (1858-1933)- painter

**Bessie Potter Vonnoh** (1872-1955)- sculptor

**Henry O. Walker** (1843-1920)- mural painter

**Julian Alden Weir** (1852-1919)- painter, etcher

**Arthur Whiting** (1861-1936)- musician, composer

**Woodrow Wilson** (1856-1924)- US President

**Ellen Axson Wilson** (1860-1914)- painter

**Marguerite Zorach** (1887-1968)- painter, textile designer

**William Zorach** (1887-1966)- painter, sculptor

![](media/image2.bmp)

**Reading 2.1- Meet the Cornish Colony**

**Follow-up: Activity 1- Portraiture**

The Cornish Colony has been called \"A Circle of Friends\" and as
suggested by the encompassing shape of a circle, artists, writers,
journalists, landscape architects, musicians and public figures found
their way to this rural town of Cornish, New Hampshire for work and
recreation. (Locate Cornish on the map.) In the sense of a circle too,
friends invited friends to the area, expanding the group until there
eventually developed a congenial, creative, like-minded community of
over 75 individuals who shared common interests and artistic values,
especially a love of classical traditions in literature and art.

It began in the summer of 1885 when Augustus Saint-Gaudens was invited
to rent an old (circa 1800) inn called \"Huggins Folly\" from his friend
and lawyer

[Charles C. Beaman]{.underline}. The sculptor had just begun work on a
statue of Abraham Lincoln and Beaman promised that \" he would find many
examples of Lincoln shaped men in New Hampshire.\" Saint-Gaudens brought
his assistants [Frederick MacMonnies]{.underline} and [Philip
Martiny]{.underline} to work with him in an old hay barn, which he
converted, to a studio on the property.

![](media/image1.wmf)[Louis]{.underline} and his wife [Annetta Johnson
St.Gaudens]{.underline}, [James Earl Fraser]{.underline}, [Henry
Hering]{.underline}, [Harry Thrasher]{.underline}, [Herbert
Adams]{.underline}, [Paul Manship]{.underline}, [William
Zorach]{.underline}, and [Frances Grimes]{.underline}. Many of them went
on to successful careers of their own. Other artists were soon joining
the Colony and inviting their friends to come as well such as painters
[George deForest Brush]{.underline}, [Kenyon]{.underline} and [Louise
Cox]{.underline}, [Henry]{.underline} and [Lucia Fuller]{.underline},
[Thomas]{.underline} and [Maria Dewing]{.underline} who brought [Frances
Houston]{.underline} and [Henry Prellwitz]{.underline}, [Henry O.
Walker]{.underline} who invited architect [Charles A.
Platt]{.underline}, who himself invited his etching teacher [Stephen
Parrish]{.underline}. [Maxfield Parrish]{.underline} followed his father
a few years later.

Besides friendship, these artists had something else in common- their
education. Many had met one another in art school and, following the
tradition of the time, had traveled to Europe to continue their studies.
*(See the "Education Opportunities" worksheet for more information.)* In
general the sculptors and painters came first; writers such as dramatist
[Percy MacKaye]{.underline} and the American novelist

[Winston Churchill]{.underline} followed. Churchill wrote *Richard
Carvel*, which became one of the most popular novels of the day.
Finally, attracted by the intellectual and artistic reputation of the
community, others such as patrons of the arts, philanthropists and
public officials arrived. These included [Judge Learned
Hand]{.underline} and [President]{.underline} and [Mrs. Woodrow
Wilson]{.underline}, who brought the White House to Cornish during the
summer seasons of 1913-1915.

Most of these individuals came only for the summer months, but a few
stayed year round such as the Saint-Gaudens family after 1900, [Stephen
Parrish]{.underline}, [Maxfield Parrish]{.underline} and [Clara Potter
Davidge]{.underline}. One artist, [Willard Metcalf]{.underline} actually
preferred the cold months and painted some of his most beautiful Cornish
landscapes during the winter.

These many talented people were the \"tastemakers\" of their day and
each one made significant contributions to the cultural life of America
as exemplified by their work. This period in art history has been
labeled \"The American Renaissance,\" roughly spanning the years
1876-1917. It is a period in which artists were guided by a vision of
idealized beauty inspired by classical themes.

**Teacher Guide 2.1: "What Have You Learned?"**

![](media/image7.wmf)**Interpretive Questions:** After students have
completed "Reading 2.1: Meet the Cornish Colony," have them answer the
following questions either in writing or in class discussion:

1.  Why has the Cornish Colony been described as a \"Circle of
    Friends?\" Give examples.

    -   A circle is a complete, yet expandable, shape. In the context of
        people, the Colony was a group of individuals sharing a common
        goal or interest, who \"revolved around a common center,\" in
        this case Augustus Saint-Gaudens.

    -   The circle or community expanded. Saint-Gaudens initially
        invited his brother Louis to join him in Cornish. Other artists
        followed and friends invited friends: the Dewings brought France
        Houston, Henry Walker brought Charles Platt, who in turn invited
        his mentor Stephen Parrish, etc. Most of the artists who came to
        Cornish were previously acquainted.

2.  What did these artists share in common?

    -   They were young, shared a typical artist\'s education and a
        common set of values.

3.  Why are these artists considered the \"tastemakers\" of their day?

-   These artists were the leaders in their respective fields who helped
    to shape the cultural taste and/or values of society.

![](media/image8.wmf)**Independent Study**

*Supports NH Curriculum Frameworks for the Arts Standard 7: Understand
the range of careers in the field of visual arts and identify careers
associated with this field, p.42.*

What type of art do you like: painting, sculpture, novels, poetry, the
theater? Which member of the Cornish community would you like to meet?
Choose someone from the Cornish Colony list whose career might interest
you. Research and prepare a short (3 minute) introduction of this person
to the class (sample: \"I would like you to meet\...\"). Include a brief
biography and also information on what contributions this person made to
American culture.

**Good sources for research include:**

-   *A Circle of Friends*

-   *Footprints of the Past*

-   

> ![](media/image1.wmf)CD-ROM

![](media/image9.bmp) **"What Have You Learned?"**

![](media/image7.wmf)

**Interpretive Questions:** After you have completed "Reading 2.1: Meet
the Cornish Colony," answer the following questions either in writing or
in class discussion:

1.  Why has the Cornish Colony been described as a \"Circle of
    Friends?\"

Give examples.

2.  What did these artists share in common?

3.  Why are these artists considered the \"tastemakers\" of their day?

![](media/image10.bmp)

**Independent Study**

What type of art do you like: painting, sculpture, novels, poetry, the
theater? Which member of the Cornish community would you like to meet?
Choose someone from the Cornish Colony list whose career might interest
you. Research and prepare a short (3 minute) introduction of this person
to the class (sample: \"I would like you to meet\...\"). Include a brief
biography and also information on what contributions this person made to
American culture.

**Good sources for research include:**

-   *A Circle of Friends*

-   *Footprints of the Past*

-   ![](media/image1.wmf)

> CD-ROM

![](media/image2.bmp)**Reading 2.2- Cornish Houses and Gardens**

**Follow-up: ACTIVITY 2- Landscape Design**

What did this rural and somewhat isolated community offer to these
artists? Public transportation by train made it possible to get to
Cornish (it was a long, nine hour trip from New York City and about six
hours from Boston). For the most part, the artists came from busy, noisy
city environments and were attracted by the cool summers, the
possibility of informal and simple living, the tranquil countryside and
the beauty of the landscape. They found Cornish an ideal place to work
far from urban distractions. It was also affordable. Cornish was typical
of many small New England towns that were losing their populations and
economic base to the factories in the cities. Farmsteads and pastureland
were either abandoned or could be bought at very reasonable prices. The
intimacy of the rolling hills, the vista of prominent Mount Ascutney and
the sweep into the distance of the Connecticut River valley actually
reminded the artists of the beautiful Italian landscape to which many of
them had traveled as students.

> ![](media/image1.wmf)Daily life was devoted to work, but other
> activities such as gardening soon became a natural extension for
> creativity. [Thomas]{.underline} and [Maria Dewing]{.underline} are
> credited with bringing an interest in growing flowers to the community
> mainly because Maria was a painter of flowers. [Stephen
> Parrish]{.underline}
>
> demonstrated his interest by incorporating a greenhouse into the plan
> of his home.

But [Charles A. Platt]{.underline} (1861-1933), painter and etcher,
became the renowned garden designer and architect of his day. He began
his architectural profession here in Cornish by designing homes for his
friends and integrating these plans with the surrounding landscape.
Platt was introduced into the Colony in 1889 by his friend [Henry O.
Walker]{.underline}. Having studied and traveled in Europe, Platt was
charmed by the design of the Italian villa with its adjoining garden. It
was this model which he sought to reproduce in the Cornish hills. He was
sensitive to the beauty and proportion of Classical forms and

began designing houses with deep overhangs, classical **loggias**,
columns, courtyards, and balconies while using local, New Hampshire
materials. His architecture extended into the garden with formal,
geometrically arranged flowerbeds aligned with the house. He created
terraced lawns to tame the hilly terrain, walled garden spaces, used
**balustrades** to lead the eye along pathways, and built **pergolas**
to create sheltered, outdoor \"rooms.\" Sunken paths, statuary,
fountains and huge planted urns often punctuated intersecting paths.
Again borrowing from Italian models, Lombardy poplars were used for
visual accents. A sense of drama in the landscape was always present as
he carefully controlled paths and driveways ultimately leading to \"the
view.\" In Cornish, this focal point was Mount Ascutney and the
Connecticut River, carrying the eye into the distant valley.

As gardening became a passion in Cornish, it also served as a training
ground for landscape designers. Two women, [Rose Nichols]{.underline}
(niece of Augustus Saint-Gaudens)- and [Ellen Shipman]{.underline} went
on to become important designers. The gardens of Cornish became famous
as horticultural writers began describing them in prominent magazines
such as *House & Garden* and *Country Life in America*. [Frances
Duncan]{.underline} wrote this description for *Century Magazine* in May
1906:

> Now in this matter of \'\'composing\" with the site, an artist,
> thoroughly familiar with the contour of the near-by hills and
> intensely alive to their beauty, may be less likely to go wrong in
> placing his house and garden than an office-bound architect. It is for
> this reason, doubtless, that Mr. Charles A. Platt\'s work at Cornish
> has been so satisfying. Mr. Platt was a painter when first he came to
> Cornish. He had the artist\'s acquaintance with the Cornish hills long
> before he took up landscape gardening. His houses all compose well; in
> fact, the first house that ever he built, \"High Court,\" erected for
> Miss Lazarus and now owned by Mr. Norman Hapgood, was almost perfect
> in this respect. Again and again one catches sight of the low
> spreading villa, its white walls, red-tiled roof, and tall poplars
> standing out against the sky, and from no point displeasing. One
> glimpse of it, for instance, from some three miles away, shows plainly
> the white curve of the road sweeping around the eastern end of the
> villa, and the two groups of Lombardy poplars which stand on each side
> of the drive are in precisely the right position- almost as if the
> house and its setting had been planned from that point\...Mr. Platt\'s
> own garden is thoroughly characteristic, especially admirable in its
> proportions in its relation to the house and in its treatment of the
> view; for by that rarely exercised privilege, judicious thinning, a
> vista is opened through which one sees the mountains to perfection.
> Aside from satisfying the mere liking of the eye, the Cornish gardens
> are livable, lovable spots, on very intimate terms with their owners.

Compiled from: *Footprints of the Past*, Virginia Colby and James
Atkinson; *Charles A. Platt: Artist as Architect,* Keith Morgan; \"The
Gardens of Cornish,\" in *Century Magazine*, May, 1906, Frances Duncan.

**Teacher Guide 2.2: "What Have You Learned?"**

![](media/image7.wmf)**Interpretive Questions:** After students have
completed "Reading 2.1: Meet the Cornish Colony," have them answer the
following questions either in writing or in class discussion:

1.  What is a \"colony?\" How would you describe the individuals who
    became members in the Cornish Colony? What attracted them to Cornish
    and what did they have in common?

-   A colony is a group of people who share common interests and live in
    close association. Many Cornish Colony members were young, had
    similar educational backgrounds, were creative and shared artistic
    values. Cornish was affordable, quiet, refreshing and beautiful.

2.  Charles Platt has been credited with introducing a new interest in
    the formal garden in America. Where did he get his inspiration? List
    some of the characteristics of his architecture and garden designs.

-   Platt traveled and studied in Italy. Using the Italian Villa as a
    model, Platt used classical elements such as columns, balustrades,
    urns, loggias, fountains, sculpture, etc. in his designs. Platt\'s
    gardens were laid our using geometric principles shaping a clear
    spatial order.

![](media/image12.wmf){width="0.9923611111111111in"
height="0.8944444444444445in"}**Looking Deeper:** Distribute copies of
historic photographs of Stephen Parrish\'s Northcôte garden and other
Cornish gardens from the May 1906 issue of *The Century Magazine* and
ask students to answer these questions:

1.  How would you describe these gardens as \"an extension of the
    house?\"

2.  What does \"a built landscape\" mean?

    -   The gardens were aligned with the dimensions and orientation of
        the house. Frequently a pergola was built as an outdoor room and
        served as a transition from house into the garden. Constructed
        architectural elements served to organize and CONTROL the
        landscape: **pergolas**, paths, arbors, **balustrades**,
        stairways leading to garden levels, walls enclosing gardens, the
        use of statuary, pools, fountains, benches, etc.

![](media/image12.wmf){width="0.9923611111111111in"
height="0.8944444444444445in"}

![](media/image9.bmp)**"What Have You Learned?"**

![](media/image7.wmf)**Interpretive Questions:** After you have
completed "Reading 2.2: Cornish Houses and Gardens" answer the following
questions either in writing or in class discussion:

1.  What constitutes a \"colony?\"

2.  How would you describe the people who formed the Cornish Colony?
    What attracted them to Cornish and what did they have in common?

3.  Charles Platt has been credited with introducing a new interest in
    the formal garden in America. Where did he get his inspiration? List
    some of the characteristics of his architecture and garden designs.