Most landladies would tear their hair out over this – but not Miss Florence. Not only did they paint on canvases, but Florence Griswold’s exuberant boarders also painted all over the walls and doors of the boardinghouse. They also had a really good time – their artistic sincerity was accented with frivolity. Over the span of more than thirty years some of the most prominent American Impressionists passed through the colony and made some of their most significant work in and about Old Lyme. With the arrival of Childe Hassam in 1903 the stylistic focus of members of the colony shifted from Ranger’s Tonalism to Impressionism. He found that Miss Florence’s house (as it was known to her boarders) was the ideal place in which to do this, given the beautiful surrounding countryside and convenient proximity to Boston and New York. Ranger was keen to set up a new school of landscape painting and a colony such as he had seen on his travels in Europe. Once an affluent sea captain’s home during Old Lyme’s maritime era, the Florence Griswold House began its life as a vibrant base for the Lyme Art Colony when landscape artist Henry Ward Ranger arrived in Old Lyme in 1899 serendipitously just after Florence Griswold had opened up her family home as a boarding house. A genteel hostel for geezers with easels, it quickly became a thriving community of artists and was known as the ‘American Barbizon’.
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Words: Saskia Gaiger - photographs: John MeunierĪn artist staying at the Florence Griswold House in Old Lyme, Connecticut between 1899 and the mid 1930’s would find subject matter for his paintings, cheap lodgings, and like-minded company.
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Heather Birnie is a commercial photographer based in West Wales. More information about the exhibition can be found at. The current exhibition in the main gallery space at Oriel Myrddin is a curated sample of their work from throughout 2021.
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All captured by photographer Heather Birnie.Ĭriw Celf creates opportunities for young people between nine and fourteen years of age, arranging for them to work with professional artists and designers in a series of arts workshops. The models, appeared as natural extensions of the ecosystem - miniature figures sailed around on floating covered rafts, reclined on soft moss and enjoyed the dappled light cast through their petal-shaped roofs by rudbeckias. The pieces they created were inspired by botanical structures and forms, and designed to sit comfortably in their surroundings.
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The brief was to make architectural models of pavilions that the young artists thought would enhance the gardens, designing to fit their environment. This was part of the Arts Council of Wales funded Criw Celf (Art Crew) project, a gifted and talented programme for young artists from across Wales. Beautiful architectural forms were designed and created by a group of young people who took part in a one-day workshop for Oriel Myrddin Gallery, led by creative agent Mary Sikkel at the National Botanic Garden of Wales.