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Why are so many artists drawn to Maine?


National Geographic Society
National Geographic Partners
LLC
Mount Katahdin
Los Angeles’s
Rockwell Kent
Ogunquit
the Farnsworth Art Museum
Haystack Mountain School of Crafts on Deer Isle
the Skowhegan School
Illustration Institute
Maine Media Workshops
Acadia National Park
Roadtripping
the Indigo Arts Alliance
The Indigo Arts Alliance
the Hudson River School
Fredric Edwin Church
Wyeth and Hopper,”
Center for Maine Contemporary Art
the Portland Museum of Art
ALS
the Passamaquoddy Tribe


Betsy Eby
Bo Bartlett
here.”
Marsden Hartley
Mainers
Wabanaki
George Wesley Bellows
Abraham Bogdanove
Winslow Homer’s
Anni Albers
David Driskell
Dale Chihuly
Fiore Art Center).(Related
Daniel Minter
Jonathan Fisher
Thomas Cole
followed.(Related
Prouts Neck
Edward Hopper
Andrew Wyeth
N.C.’s
Wyeths
Dowling Walsch
Marsden Hartley’s
Alex Katz
Lois Dodd
Jon Imber
Jill Hoy
Abbe
Jeremy
Gabriel Frey
Ashley Bryan
Islesford
Jeremy Frey
John Bisbee


Katahdin
American
Black
state’s
Southwest
Cubist


Wheaton Island
Matinicus Island
Hopper
Maine’s Wheaton Island
Europe
Atlantic
the Cranberry Islands


Matinicus Island
Getty Center
the Ogunquit Museum of American Art
Morning View
the Portland Museum of Art
piece.”Brunswick


Maine’s
Georgia
York Beach
America
U.S.
Hartley’s
New York
colonies
Ogunquit
Monhegan
Rockland
Monhegan Island
Falmouth
Portland
America’s
N.C.
Columbus
Wheaton Island
Georgia.“I
Bartlett’s
Deer Isle
Somerville
Massachusetts
Bar Harbour
impulses.“It’s

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Positivity     40.00%   
   Negativity   60.00%
The New York Times
SOURCE: https://www.nationalgeographic.com/travel/destinations/north-america/united-states/maine/artists-find-centuries-of-inspiration.html
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Summary

There’s a saying in these parts: “You can’t get there from here.” But some people do know their way around this rugged place: Adventurers who reach remote coves by ferry or kayak, lobstermen and loggers who work amid its wild landscapes, and artists who have studied its beauty.Attracted to its rocky shores, pine-tall forests, and granite mountains—and armed with paint brushes, cameras, and carving tools—artists have been drawn to Maine since before it became a state 200 years ago. Among those moved to stay and create: Georgia O’Keeffe, who frequented York Beach in the 1920s, painting its dark waves and white seashells, and Marsden Hartley, who rendered Mount Katahdin, Maine’s highest peak, in vivid crimson and violet.Wheaton Island (forefront), where Betsy Eby and Bo Bartlett spend their summers painting, is adjacent to Maine’s remote Matinicus Island, known for its robust fishing community.Maine is remote, reserved, and at the edge of the map of America. Later, as land became more expensive, formal colonies began popping up around the state.American landscape artist Abraham Bogdanove, whose style was similar to Winslow Homer’s, is shown painting on Monhegan Island, where he spent many summers working in the early 20th century.A small cabin tucked away in the fog and forest on one of Maine’s more than 4,600 islands. Its downtown space has hosted photographers and printmakers with works that challenge stereotypes about Maine art (lighthouse paintings are not top priority).In 1824, four years after Maine became the 23rd U.S. state, Reverend Jonathan Fisher painted a small but vibrant watercolor—A Morning View of Bluehill Village—a folksy example of landscape painting, the genre that would win American artists world renown.In the mid-1800s, members of the Hudson River School journeyed to America’s northeastern coast to document its dramatic tides and undeveloped land. Over the next five decades, many other realists followed.(Related: Peek inside the amazing homes of famous artists.)The wave crested in the early 20th century, when Winslow Homer set up a studio at Prouts Neck and began producing images of the southern Maine shore, many of them now on view at the Portland Museum of Art and Rockland’s Farnsworth Art Museum. In 2013, the Portland Museum of Art was the first institution to mount a major retrospective of her work; several of her paintings are in its permanent collection.A man harvests Maine sweetgrass, which Wabanaki artists use to make baskets. “It was here that I became a painter with an appreciation of Maine land and seascapes, work ethic, architecture, and gardens,” she says.The exquisite crafts of the Wabanaki people, who have been in these parts for more than 13,000 years, reward close inspection. “The landscape doesn’t show up in my work, but it’s the rhythm behind it.” Take his sculpture Hearsay, outside the Portland Museum of Art. Its intricate cone looks like a phonograph made of railway spikes, both familiar and mildly disturbing.Bisbee is now working on a record of songs inspired by his time in solitude during the pandemic.

As said here by Katy Kelleher