euroArt

Introduction

 

The Artists’ Colony as a phenomenon came into being in the first half of the 19th century, when the artists, especially the painters, began to travel to the countryside. They were driven as much by the desire for a simpler, more natural existence as by the wish to rid themselves of academicism in art.
Apart from that, life in the countryside was relatively cheap. With the emergence of plein-air painting, the landscape changed from the background to becoming the subject in their works. French, and later foreign, painters went to Barbizon in the woods of Fontainebleau and, further to the south, to the river-sited Grez-sur-Loing, next to places like Pont-Aven and Concarneau on the coast of Brittany, where life was even rougher and more primitive. After Barbizon, small or bigger artists’ colonies sprang up all over Europe, among other countries in England, Germany, Belgium, the Netherlands, Denmark, Russia, Hungary and Switzerland. Besides the landscape, the local population proved to be a rich source of inspiration. With the painters came friends from many disciplines; writers, poets, composers, representatives of the music- and theatre-world and, in their wake, art critics and art collectors. The artists’ colony became a meeting-place for them. In some cases, a community with an idealistic purpose developed. After the new phenomena were written about, the colonies began to attract so many tourists that they lost their original charm as an artists’ colony.

After the First World War most artists’ colonies of the old style had come to an end. Art in those days was in pursuit of a different approach. The open-air painting of the landscape and the portraiture of farmer’s life had lost their attraction. More and more the painters drew the basic forms of the human spiritual life into their art. The basis for that renewal of art, however, was firmly rooted in the artists’ colonies. They renovated European and international art as forerunners and pioneers of Realism, Impressionism, Symbolism, Pointillism, Divisionism, Fauvism, Surrealism and Expressionism. The artists who worked in them often took home new ideas and undreamt of possibilities and spread these there.
And what is even more important now, is that a lot of the artists’ colonies have survived and are blossoming in a new, modern way. Many of them are combined in euroArt.

History of euroArt

Since the 1980’s there has been a revival of the European artists’ colony. Only a few of the old colonies were still known as such and even they rarely made full use of their famous past. This changed when 100 years after their hey-day, the artists’ colonies became the focus-point of interest again. Books were published on them and exhibitions were organized. In many former artists’ colonies museums and galleries were set up. Old studios were renovated and sometimes put at the disposal of young artists for a while. The artistic heritage was given a new lease of life.

And when the Iron Curtain fell, it became clear how widespread the artists’ colonies were all over Europe and how much some kind of organization was needed to help them protect their past and create the possibility of a new - joint - artistic future. euroArt – the European Federation of Artists’ Colonies – came into being in 1994 as the essential network to this goal. It was founded in Brussels under the auspices of the European Parliament and the European Commission.

euroArt currently consists of about 80 member organizations, associated organizations and personal members, in more than 20 European countries: Austria, Belgium, Denmark, Finland, France, Germany, Greece, Hungary, Iceland, Ireland, Italy, Lithuania, Netherlands, Norway, Poland, Rumania, Russia, Spain, Sweden, Switzerland, United Kingdom.
The members hold exhibitions together, exchange views, knowledge and artists. And in annual meetings, next to keeping each other informed of developments in their several colonies, they all work together towards a greater cultural understanding and cooperation in a European context.

Information

  • President Stefan Schwenke
    Bauernreihe 1
    27726 Worpswede
    Germany
    s.schwenke@gemeinde-worpswede.de
  • Steering Committee

    Vice Presidents:
    Heiko Brunner, Schwaan / Germany
    Edith Mara, Graz / Austria
    Imre Szakács, Szentendre / Hungary

    Members:
    Elisabeth Boser, Dachau / Germany
    Egbert Reinders, Oosterbeek-Renkum / The Netherlands

  • Treasurer euroArt Account Department
    Jan Verhulst
    Eikestraat 11a
    3080 Tervuren
    Belgium
    jan.hulst@telenet.be
  • Scientific Advisory Committee

    Francisca van Vloten (chair person), Domburg / The Netherlands
    Ruth Negendanck, Nürnberg / Germany
    Claus Pese, Nürnberg / Germany
    Gertrud 
    Hvidberg-Hansen, Faaborg / Denmark