Étaples art colony
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The Étaples art colony was a fin de siècle artists' retreat situated near the fishing port of Étaples, in northern France. The colony experienced its heyday between 1880 and 1914 before the outbreak of World War I led to its disruption. Although cosmopolitan in composition, the majority of inhabitants were Anglophone artists from North America, Australasia and the British Isles. While some artists settled permanently, others remained at the colony for a sole season, or an even shorter time as it was common for Bohemian painters of this period to lead a peripatetic existence, travelling between the various art colonies situated along the coasts of Normandy and Brittany. Stylistically, the Étaples artists represent a diverse range of schools with certain common interests, including a preoccipation with the landscape of the region, the proper use of natural light, as well as a shared interest in the lives of the common folk, fishermen and peasants, of the region. While most painters left the town in 1914 at the outbreak of WW1, artistic activities continued at Étaples during the conflict, pursued by artists in uniform and war artists. Following the Treaty of Versailles which ended the war, some artists returned to their studios and the persistence of a small colony continued to attract visitors to the area, although little outstanding work now resulted.
Early decades
The first French artists to paint in the area were those particularly associated with open air painting. Charles-François Daubigny retreated there from the outbreak of the Paris Commune in 1871, where he spent his time drawing and executed at least one oil painting of beached boats (Gallery 3). Norman-born Eugène Boudin frequently painted along the Opal Coast and spent long periods in both Étaples and at Berck. Henri Le Sidaner, who was brought up in Dunkirk, spent the years 1885–1894 in the town{{citation needed|date=November 2013}} and represented the area in all seasons.{{cite web |url=http://www.1st-art-gallery.com/Henri-Eugene-Augustin-Le-Sidaner/Snowy-Evening,-Etaples.html |title=Snowy Evening, Etaples Henri Eugene Augustin Le Sidaner | Oil Painting Reproduction |publisher=1st-Art-Gallery.com |access-date=2013-11-26 |archive-date=2013-12-03 |archive-url=https://web.archive.org/web/20131203043935/http://www.1st-art-gallery.com/Henri-Eugene-Augustin-Le-Sidaner/Snowy-Evening,-Etaples.html |url-status=live }} There he was joined between 1887 and 1893 by his childhood friend Eugène Chigot (1860–1923), who shared his interest in atmospheric light and afterwards went to stay in Paris Plage.{{cite web |url=http://www.expertisez.com/magazine/?p=864 |title=Chigot Eugène | expertisez magazine |publisher=Expertisez.com |date=2013-01-24 |access-date=2013-11-26 |archive-date=2015-06-11 |archive-url=https://web.archive.org/web/20150611144653/http://www.expertisez.com/magazine/?p=864 |url-status=live }}
The heyday of the colony began around 1880. More than 200 artists from France, Britain, America and Australia had settled in the Étaples area.{{cite web |url=http://www.culture.fr/fr/sections/une/articles/peintres-8217-ecole-d |title=Peintres de l'école d'Etaples |publisher=Culture.fr |language=French |date=16 February 2011|access-date=2 November 2022 |archive-url=https://web.archive.org/web/20110218171851/http://www.culture.fr/fr/sections/une/articles/peintres-8217-ecole-d |archive-date=18 February 2011 }} In 1887 also, Eugène Vail (1857–1934), moved to Étaples and spent the winter there, lodging with his Irish friend Frank O'Meara, whose letters home give us information about the colony at that time.{{citation needed|date=November 2013}} Amongst the other artists working there were Boudin and Francis Tattegrain, several more Irish, the English Dudley Hardy, the Americans Walter Gay and L. Birge Harrison, and the Australian Eleanor Ritchie, whom Harrison met there and married.{{citation needed|date=November 2013}} While the rest were painting tranquil figures down at the harbour or in the woods, O'Meara describes Vail as 'painting the deck of a fishing boat in a heavy sea, life-size'.{{cite web |url=http://www.gorrygallery.ie/catalogs/Cat0703.pdf |title=Gorry Gallery |publisher=Gorrygallery.ie |access-date=2013-11-26 |archive-date=2012-04-25 |archive-url=https://web.archive.org/web/20120425045254/http://www.gorrygallery.ie/catalogs/Cat0703.pdf |url-status=dead }} This was "Ready, About!", which won a first-class gold medal in the Paris Salon of 1888. In the following decade, Vail's Norwegian associate Frits Thaulow was to spend some time in Étaples while André Derain stopped there and in Montreuil-sur-mer during the summer of 1909.{{cite web |title=Derain et Vlaminck (1900–1915) |url=http://mapage.noos.fr/shv2/vlam-derain.htm |access-date=October 2, 2011 |archive-url=https://web.archive.org/web/20100411232517/http://mapage.noos.fr/shv2/vlam-derain.htm |archive-date=April 11, 2010 }}
The colony that was in the process of being formed in Étaples and neighbouring villages such as Trépied, a mile away on the south bank of the river Canche, was in reality made up largely of English-speaking expatriates who needed to live cheaply. As Blanche McManus was to comment two decades later in the record of her travels, 'the colony has been formed by buying up, or renting, the fishermen's cottages at nominal prices and turning them into studios. Such is the popularity of art that the native fisher people importune one to be taken on for models with as much insistence as the beggars of Naples appeal to strangers for money.'{{citation |author=Blanche McManus |chapter-url=http://www.kellscraft.com/americanwoman/americanwoman17.html |title=The American Woman Abroad |chapter=XVII – Artists' Sketching Grounds Abroad |publisher=The Quinn & Boden Co. Press |year=1911 |via=Kellscraft.com |access-date=2013-11-26 |archive-date=2013-12-19 |archive-url=https://web.archive.org/web/20131219020042/http://www.kellscraft.com/americanwoman/americanwoman17.html |url-status=live }}
Her account is supplemented by Jane Quigley's description of life there published in 1907. 'The usual plan is to live in rooms or studios and eat at the Hotel des Voyageurs or Hotel Joos – unpretentious hostelries with fairly good meals, served in an atmosphere of friendliness and stimulating talk. In winter the place is deserted, except by a group of serious workers who make it their home. Artists pay about twenty-five or thirty francs a week for board and rooms, and studios are cheap. Étaples has been called – and not without reason – a dirty little town, but it is healthy for all that. The artistic sense finds pleasure in its winding cobbled streets and mellow old houses and in the dark-complexioned southern looking people. Models are plentiful and pose well for a small payment, either in the studio or in the picturesque gardens that lie hidden behind the street doors. A great source of interest is the fishing fleet that comes up the estuary of the Canche to the quays where the fisher people and shrimpers live in a colony of their own. There is constant work for the sketch book, especially on Monday, when the boats go off for several days, the whole family helping the men and boys to start. All one can do amid this bewildering movement of boats putting up sail, and people bustling about with provisions, is to make hurried notes and sketches.'{{cite web |url=http://digicoll.library.wisc.edu/cgi-bin/DLDecArts/DLDecArts-idx?type=turn&entity=DLDecArts.hdv12n03.p0006&id=DLDecArts.hdv12n03&isize=text |title=Decorative Arts: The craftsman: Picardy: a quiet, simple land of dreamy beauty, where artists find much to paint |publisher=Digicoll.library.wisc.edu |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202222316/http://digicoll.library.wisc.edu/cgi-bin/DLDecArts/DLDecArts-idx?type=turn&entity=DLDecArts.hdv12n03.p0006&id=DLDecArts.hdv12n03&isize=text |url-status=live }}{{full citation|date=November 2022}}
Styles and subjects
{{Synthesis|section|date = July 2013}}
A review of a 2011 exhibition in Étaples refers to the École d'Étaples and the large Étaples artist colony. The exhibition showed local paintings from between 1880 and 1914. Art ranged from the plein-air style of artists' colonies to the south, through Impressionism to Post Impressionism. Subject matter was obviously varied. However, two broad tendencies can be observed in their work.{{citation needed|date=November 2022}} One is the treatment of light, that recommended itself to those of an Impressionist tendency, such as Boudin and Le Sidaner among the French and Wilson Steer from England. The other tendency among the artists was to follow the Realism of such painters as Jules Bastien-Lepage and Jean-François Millet in their choice of humble everyday subjects – in the case of Étaples, the life of the fisherfolk. There are good examples in the work of the American Louis Paul Dessar, who was in the town between 1886 and 1901,{{cite web |title=Louis Paul Dessar |url=http://collections.terraamericanart.org/view/people/asitem/items$0040null:193/0 |access-date=October 2, 2011 |archive-url=https://web.archive.org/web/20120405220126/http://collections.terraamericanart.org/view/people/asitem/items%240040null%3A193/0 |archive-date=April 5, 2012 }} and the Anglo-Australian Tudor St. George Tucker, whose first major painting, "A Picardy Shrimp Fisher", was executed in Étaples.{{cite book |last=Zubans |first=Ruth |chapter-url=http://adb.anu.edu.au/biography/tucker-tudor-st-george-8870 |title=Biography – Tudor St George Tucker – Australian Dictionary of Biography |chapter=Tucker, Tudor St George (1862–1906) |publisher=Adb.anu.edu.au |access-date=2013-11-26 |archive-date=2012-03-13 |archive-url=https://web.archive.org/web/20120313173836/http://adb.anu.edu.au/biography/tucker-tudor-st-george-8870 |url-status=live }} William Gerard Barry's "Time Flies" and Birge Harrison's "The Return of the Mayflower", mentioned above, are works of the same tendency.
Gallery 1: Light effects
File:Boudin-sunset.jpg|Eugène Boudin, Sunset over the Canche, 1876
File:Le Sidaner-moonlight.jpeg|Henri Le Sidaner, Moonlight, Étaples, 1891
File:Bunny-Etaples.jpg|Rupert Bunny, Rainy weather at Étaples, 1902
File:Scott-Rainy Night.jpg|William Edouard Scott, Rainy night in Étaples, 1912
One particular focus of attention as a subject was the town's fish market, built in 1872 and now a maritime museum.{{cite web |url=http://www.2p2m.org/musee_presentation.php?musee=3 |title=Bienvenue sur le site 2P2M – Patrimoine et Musées en pays du Montreuillois |publisher=2p2m.org |access-date=2013-11-26 |archive-date=2013-12-03 |archive-url=https://web.archive.org/web/20131203024629/http://www.2p2m.org/musee_presentation.php?musee=3 |url-status=dead }} Examples include "Fish Market, Etaples", shown in 1913 at the annual exhibition of the Royal Canadian Academy of Arts{{cite web|url=https://archive.org/stream/catalogueofexhib13nati#page/14/mode/2up/search/Etaples |title=Annual Exhibition Catalogue of the Royal Canadian Academy of Arts, 1913 |access-date=2013-11-26}} by Clara S. Haggarty (1871–1958),{{cite web |url=http://cwahi.concordia.ca/sources/artists/displayArtist.php?ID_artist=161 |title=Canadian Women Artists History Initiative : Artist Database : Artists : HAGARTY, Clara Sophia |publisher=Cwahi.concordia.ca |access-date=2013-11-26 |archive-date=2013-06-13 |archive-url=https://web.archive.org/web/20130613082924/http://cwahi.concordia.ca/sources/artists/displayArtist.php?ID_artist=161 |url-status=live }} and two exhibited at the 1907 Royal Academy exhibition in England: the Australian James Peter Quinn's "Fish Market at Étaples", and "A corner of the market, Etaples" by the animal artist Evelyn Harke (fl.1899–1930).{{cite web|url=https://archive.org/stream/exhibitionofroya00roya#page/n7/mode/2up |title=The exhibition of the Royal Academy of Arts, 1907 : the 139th |access-date=2013-11-26}} Etchings were also made, two of which are singled out in Whitman's Print Collector's Handbook (1918):{{cite web|url=https://archive.org/stream/whitmansprintcol011336mbp#page/n383/mode/2up/search/Etaples |title=Whitman's Print-Collector's Handbook |access-date=2013-11-26}} Nelson Dawson's aquatint "Halles aux poisons" (1911), made after a visit to the town in 1910 and now in Georgetown University,{{cite web |url=http://gulib.georgetown.edu/dept/speccoll/guac/dawson_09/images/019.jpg |title=Image |publisher=Gulib.georgetown.edu |access-date=2013-11-26 |archive-url=https://web.archive.org/web/20120724162604/http://gulib.georgetown.edu/dept/speccoll/guac/dawson_09/images/019.jpg |archive-date=2012-07-24 |url-status=dead }} and William Lee Hankey's "Fish Market at Étaples", now in the British Museum.{{cite web|url=https://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=3197645&partid=1&orig=/research/search_the_collection_database/advanced_search.aspx¤tPage=1&numpages=10 |title=The Fish Market, Etaples |publisher=British Museum |access-date=2013-11-26}} The latter depicts baskets of fish on display in a stone hall with two women seated in the left foreground, bending towards one another as they talk, while men walk past them carrying baskets.
The market outside was equally popular, a subject bringing together folk in their distinctive local dress which was particularly adapted to the kind of saleable genre subjects that many of these artists were producing. It is shown in the oil paintings "Market Day" by the English William Holt Yates Titcomb (see Gallery 2), "Market at Etaples" by the Australian Marie Tuck (1866–1947{{cite web |url=http://www.artnet.com/artists/lotdetailpage.aspx?lot_id=CAA71A99BC2E71823B9F9A72A1F509AE |title=Market at Etaples by Marie Tuck on artnet |publisher=Artnet.com |access-date=2013-11-26 |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191423/https://www.artnet.com/artists/marie-tuck/market-at-etaples-mpR9IeVcRVXhKXA2NOElng2 |url-status=live }} and "Market Scene at Etaples" by her compatriot Iso Rae (1860–1940).{{cite web |url=http://img.aasd.com.au/30893878.jpg |title=Image |publisher=Img.assd.com.au |access-date=2013-11-26 |archive-date=2012-04-25 |archive-url=https://web.archive.org/web/20120425021203/http://img.aasd.com.au/30893878.jpg |url-status=live }} There was also the charcoal and crayon drawing "Le Marché à Etaples" by Hilda Rix (1884–1961), another Australian,{{cite web |url=http://www.artvalue.com/auctionresult--rix-nicholas-hilda-emily-1884-le-marche-a-etaples-2825242.htm |title=Le marché à Etaples sold by Enchères Côte d'Opale, Boulogne-sur-Mer, on Saturday, February 26, 2011 |publisher=Artvalue.com |date=2011-02-26 |access-date=2013-11-26 |archive-date=2012-04-04 |archive-url=https://web.archive.org/web/20120404141614/http://www.artvalue.com/auctionresult--rix-nicholas-hilda-emily-1884-le-marche-a-etaples-2825242.htm |url-status=dead }} and "Market Place, Étaples", a watercolour by the Irish artist Mima Nixon (1861–1939) that was displayed at the Royal Academy exhibition in 1909.{{cite web |url=http://www.arcadja.com/auctions/en/nixon_mima/artist/127384 |title=Mima Nixon | Art auction results, prices and watercolours estimates |publisher=Arcadja.com |access-date=2013-11-26 |archive-date=2013-12-05 |archive-url=https://web.archive.org/web/20131205114203/http://www.arcadja.com/auctions/en/nixon_mima/artist/127384/ |url-status=live }}
There is evidence also of a social conscience in the paintings of some artists that is manifested in the depiction of their subjects. Walter Gay's "November" might perhaps be dismissed as merely picturesque, a posed portrayal of a peasant woman at the not particularly arduous task of hoeing her cabbage patch (Gallery 4). But George Clausen's depiction of the back-breaking work of "Gathering Potatoes", painted at nearby Dannes in 1887,{{cite web |url=http://dderrick.typepad.com/.shared/image.html?/photos/uncategorized/1887_gathering_potatoes.jpg |title=Photo |publisher=Dderrick.typepad.com |access-date=2013-11-26 |archive-date=2012-04-25 |archive-url=https://web.archive.org/web/20120425081949/http://dderrick.typepad.com/.shared/image.html?/photos/uncategorized/1887_gathering_potatoes.jpg |url-status=dead }} reflects concerns that are a constant in his output of the time. It was then too that he began to distance himself from those championing Impressionist effects precisely because drawing attention principally to technique takes it away from any other motivation for choosing the subject portrayed.{{cite web |url=http://dderrick.typepad.com/derrick_clausen_burkhardt/gc_technique |title=George Clausen and Thomas Derrick: GC technique – Bonhams |date=28 November 2005 |publisher=Dderrick.typepad.com |access-date=2013-11-26 |archive-date=2013-12-03 |archive-url=https://web.archive.org/web/20131203154054/http://dderrick.typepad.com/derrick_clausen_burkhardt/gc_technique/ |url-status=dead }}
Elizabeth Nourse's "Fisher Girl of Picardy" (Gallery 2) is another example. Painted on a blustery day in 1889, Nourse's friend Anna Schmidt later described the circumstances: "I was with Elizabeth when she painted that girl on the Etaples Dunes – it was so cold and windy the model used to weep."{{cite web |url=http://americanart.si.edu/collections/search/artwork/?id=18875 |title=Fisher Girl of Picardy by Elizabeth Nourse / American Art |publisher=Americanart.si.edu |date=1915-01-03 |access-date=2013-11-26 |archive-date=2013-12-05 |archive-url=https://web.archive.org/web/20131205205548/http://americanart.si.edu/collections/search/artwork/?id=18875 |url-status=live }}
Gallery 2: Fisher-folk
File:O'Meara Quays.jpg|Frank O'Meara, On the quays, 1888
File:Elizabeth Nourse - Fisher Girl of Picardy - Smithsonian American Art Museum.jpg|Elizabeth Nourse, Fisher Girl of Picardy, 1889
File:Market day etaples hi.jpg|William Holt Yates Titcomb, Market Day, Étaples
File:Shrimpers returning etaples.jpg|Thomas Austen Brown, Shrimpers returning
Nationalities
:
:a) Americans
The painters of two of the colony's nationalities, Americans{{cite book | last = Lesage | first = Jean-Claude | title = Peintres Américains en Pas-de-Calis: la colonie d'Etaples | publisher = AMME | isbn = 978-2-904959-18-9| year = 2007 }} and Australians,{{cite book | last = Lesage | first = Jean-Claude | title = Peintres Australiens à Etaples | publisher = AMME | isbn = 2-904959-16-5| year = 2000 }} have been the subject of special studies. Among the earliest Americans to visit the town were Walter Gay, who was making a name for himself with Realist subjects at the time, and Robert Reid,{{citation needed|date=November 2013}} whose long career as a painter of young women in outside settings began with portraits of peasants in Étaples before his return to the U.S. in 1889. Another early visitor was Homer Dodge Martin, who was painting on the coast between 1882 and 1886.{{citation needed|date=November 2013}} His work included a topographical view of the harbour (Gallery 3).
In 1889 the Paris-based salon genre painter, Elizabeth Nourse, included the town on her tour. She created paintings there including "Milk Carrier",{{cite web |url=http://www.askart.com/AskART/artists/search/Search_Repeat.aspx?searchtype=IMAGES&artist=23147 |title=Elizabeth Nourse – Auction Images and prices realized for Elizabeth Nourse |publisher=Askart.com |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202235605/http://www.askart.com/AskART/artists/search/Search_Repeat.aspx?searchtype=IMAGES&artist=23147 |url-status=live }} "Fisher Girl of Picardy", "An Etaples Fair"{{cite web |url=http://collections.si.edu/search/results.jsp?q=record_ID:siris_ari_236827 |archive-url=https://archive.today/20120707171952/http://collections.si.edu/search/results.jsp?q=record_ID:siris_ari_236827 |url-status=dead |archive-date=July 7, 2012 |title=An Etaples Fair, (painting) | Collections Search Center, Smithsonian Institution |publisher=Collections.si.edu |access-date=2013-11-26 }} and "Street Scene".{{cite web |url=http://collections.si.edu/search/results.jsp?q=record_ID:siris_ari_236828 |archive-url=https://archive.today/20120711054519/http://collections.si.edu/search/results.jsp?q=record_ID:siris_ari_236828 |url-status=dead |archive-date=July 11, 2012 |title=Etaples Street Scene, (painting) | Collections Search Center, Smithsonian Institution |publisher=Collections.si.edu |access-date=2013-11-26 }} Later on Eanger Couse moved to the town and lived there between 1893 and 1896,{{cite web |url=http://www.cousefoundation.org/eicouse.php |title=The Couse Foundation |publisher=The Couse Foundation |access-date=2013-11-26 |url-status=dead |archive-url=https://web.archive.org/web/20131202223338/http://www.cousefoundation.org/eicouse.php |archive-date=2013-12-02 }} painting its streets[https://web.archive.org/web/20120425014730/http://www.saginawimages.org/images.asp?itemID=SMEC0007&SearchTerm Saginaw Images – Street Scene, Etaples] and fisher folk. His "Coastal Scene, Etaples" is particularly worth noting for its interpretation of light.{{cite web |url=http://www.worthpoint.com/worthopedia/eanger-irving-couse-american-1866-1936-0 |title=Eanger Irving Couse (American, 1866–1936) (02/24/2008) |publisher=Worthpoint.com |date=2008-02-24 |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202221422/http://www.worthpoint.com/worthopedia/eanger-irving-couse-american-1866-1936-0 |url-status=live }} Myron Barlow (1873–1937) also had a home in Étaples from the late 1890s to his death and specialised particularly in figures in interiors. Among his students there was Norwood Hodge MacGilvary (1874–1949), who studied under him in the years 1904–6.{{cite web |url=http://www.wolfsfineart.com/biographies3.htm |title=American Painters – Artist Biographies M-Z |publisher=Wolfsfineart.com |access-date=2013-11-26 |archive-date=2012-03-21 |archive-url=https://web.archive.org/web/20120321085547/http://www.wolfsfineart.com/biographies3.htm |url-status=live }}
Max Bohm lived in the area between 1895 and 1904. Described as a romantic visionary, his heroic depiction of Étaples fishermen, "En Mer" (see Gallery 3), received a gold medal at the Paris Salon in 1898. He then moved out of the town to Trépied{{cite book |url=https://books.google.com/books?id=QkgvGYj34UMC&q=Max+Bohm++Etaples&pg=PA54 |title=A Legacy of Art: Paintings and Sculptures by Artist Life Members of the ... – Carol Lowrey – Google Books |access-date=2013-11-26 |isbn=9780615154992 |last1=Lowrey |first1=Carol |year=2007 |publisher=Hudson Hills |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191432/https://books.google.com/books?id=QkgvGYj34UMC&q=Max+Bohm++Etaples&pg=PA54#v=snippet&q=Max%20Bohm%20%20Etaples&f=false |url-status=live }} and while there founded the Société Artistique de Picardie which took over arranging the annual exhibitions of work by local artists started in 1892 by Eugène Chigot.{{cite book |url=https://books.google.com/books?id=oTEwEyV2QhUC&q=%22Eugene+Boudin%22+Etaples&pg=PA29 |title=Petit Futé Côte d'Opale – Jean-Paul Labourdette – Google Books |date=2007-10-09 |access-date=2013-11-26 |isbn=9782746919280 |last1=Auzias |first1=Dominique |last2=Labourdette |first2=Jean-Paul |publisher=Nouvelles Editions de l'Université |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191516/https://books.google.com/books?id=oTEwEyV2QhUC&q=%22Eugene+Boudin%22+Etaples&pg=PA29 |url-status=live }} In 1912 the society's president was George Senseney (1874-1943),{{cite web|url=http://www.lindapages.com/wags-ohio/gsenseney.htm |archive-url=https://web.archive.org/web/20120517230828/http://www.lindapages.com/wags-ohio/gsenseney.htm |url-status=dead |archive-date=May 17, 2012 |access-date=October 5, 2011 }} who was listed as still living in Etaples in a catalogue of works by American etchers the following year.{{cite web|url=https://archive.org/stream/cu31924073616488#page/n43/mode/2up/search/Etaples |title=Catalogue of an exhibition of works by American etchers under the management of the Chicago Society of Etchers |access-date=2013-11-26}}
In 1913 Senseney was succeeded as president by the African-American artist Henry Ossawa Tanner,{{cite book |url=https://books.google.com/books?id=0CgtERfkp-UC&q=Etaples&pg=PA189 |title=Henry Ossawa Tanner: American Artist – Marcia M. Mathews – Google Books |access-date=2013-11-26 |isbn=9780226510064 |last1=Mathews |first1=Marcia M. |year=1994 |publisher=University of Chicago Press |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191522/https://books.google.com/books?id=0CgtERfkp-UC&q=Etaples&pg=PA189#v=snippet&q=Etaples&f=false |url-status=live }} who had been driven abroad by prejudice and had settled in Trépied. Early in his career, Tanner painted marine scenes that showed man's struggle with the sea, but by 1895 he was creating mostly religious works. The simple resources at Étaples were well adapted to his subject matter, which in several cases featured Biblical figures in dark interiors.{{citation needed|date=November 2013}} Occasionally Tanner played host at Trépied to a fellow African-American, William Edouard Scott, who painted there off and on between 1910 and 1914.{{cite book |url=https://books.google.com/books?id=qTG-GXlmMAEC&q=Etaples+artist&pg=PA162 |title=A Shared Heritage: Art by Four African Americans – William Edward Taylor – Google Books |date=1969-07-27 |access-date=2013-11-26 |isbn=0936260629 |last1=Taylor |first1=William Edward |last2=Warkel |first2=Harriet Garcia |last3=Burroughs |first3=Margaret Taylor |publisher=Indiana University Press |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191527/https://books.google.com/books?id=qTG-GXlmMAEC&q=Etaples+artist&pg=PA162#v=snippet&q=Etaples%20artist&f=false |url-status=live }} In fact Tanner's son claims that he was largely responsible for establishing the foreign artistic milieu at Etaples, often entertaining up to 100 people at his Trépied summer home.{{cite book |url=https://books.google.com/books?id=0CgtERfkp-UC&q=%22Etaples+art+colony+%22&pg=PR12 |title=Henry Ossawa Tanner: American Artist – Marcia M. Mathews – Google Books |access-date=2013-11-26 |isbn=9780226510064 |last1=Mathews |first1=Marcia M. |year=1994 |publisher=University of Chicago Press |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191436/https://books.google.com/books?id=0CgtERfkp-UC&q=%22Etaples+art+colony+%22&pg=PR12#v=snippet&q=%22Etaples%20art%20colony%20%22&f=false |url-status=live }}
Also staying in the village during this decade was Max Bohm's friend Chauncey Ryder (1868-1949).{{cite web |title=Chauncey Ryder: American 1868 - 1949 |url=http://www.raisonne.org/site/biography/22 |access-date=October 2, 2011 |archive-url=https://web.archive.org/web/20081120115358/http://www.raisonne.org/site/biography/22 |archive-date=November 20, 2008}} As soon as he quitted the farmhouse he was renting in 1907, he was succeeded there by the landscape artist Roy Brown (1879–1956), who was to stay until war broke out in 1914.{{cite book |url=https://books.google.com/books?id=QkgvGYj34UMC&q=etaples+%22artists+colony%22&pg=PA63 |title=A Legacy of Art: Paintings and Sculptures by Artist Life Members of the ... – Carol Lowrey – Google Books |access-date=2013-11-26 |isbn=9780615154992 |last1=Lowrey |first1=Carol |year=2007 |publisher=Hudson Hills |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191521/https://books.google.com/books?id=QkgvGYj34UMC&q=etaples+%22artists+colony%22&pg=PA63#v=snippet&q=etaples%20%22artists%20colony%22&f=false |url-status=live }}
Other visitors to the area included the landscapist George W. Picknell (1864–1943){{cite web |url=http://www.arcadja.com/auctions/en/picknell_george_w_/artist/106803 |title=George W. Picknell | Art auction results, prices and artworks estimates |publisher=Arcadja.com |access-date=2013-11-26 |archive-date=2013-12-05 |archive-url=https://web.archive.org/web/20131205123040/http://www.arcadja.com/auctions/en/picknell_george_w_/artist/106803/ |url-status=live }} and the maritime artist John "Wichita Bill" Noble (1874–1934),[http://205.234.169.45/galleryguide/19309/5862/7192/noble-maritime-collection-staten-island/artwork/john-noble-etaples] {{dead link|date=November 2013}} both of whom spent some years in France at that time. Of the other painters of marine subjects associated with the town, Frederick Frary Fursman (1874–1943) spent summers there between 1906 and 1909{{cite web |url=http://www.artic.edu/aic/libraries/pubs/1909/AIC1909Fursman_comb.pdf |title=Exhibition of Paintings of Frederick Frary Fursman of Chicago |publisher=Artic.edu |access-date=2013-11-26 }}{{Dead link|date=December 2019 |bot=InternetArchiveBot |fix-attempted=yes }} while Augustus Koopman (1869–1914) kept a studio in Étaples from 1908 and died there in 1914.{{cite book |url=https://books.google.com/books?id=gejhoRgwLXwC&q=%22Koopman+%22++Etaples&pg=PA382 |title=Dictionary of North Carolina Biography – Google Books |date=2000-11-09 |access-date=2013-11-26 |isbn=9780807867136 |last1=Powell |first1=William S. |publisher=Univ of North Carolina Press |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191933/https://books.google.com/books?id=gejhoRgwLXwC&q=%22Koopman+%22++Etaples&pg=PA382#v=snippet&q=%22Koopman%20%22%20%20Etaples&f=false |url-status=live }} Yet another visitor was Caleb Arnold Slade (1882-1961), who made annual stays for some seven years until 1915. His "Moonlight at Etaples" looks over the glimmering Canche to the silhouetted buildings of Trépied on the ridge behind{{cite web |url=http://www.artnet.com/artists/lotdetailpage.aspx?lot_id=2F9820360E293C7B |title=Moonlight at Etaples by Caleb Arnold Slade on artnet |publisher=Artnet.com |access-date=2013-11-26 |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109192039/https://www.artnet.com/artists/caleb-arnold-slade/moonlight-at-etaples-qPuLSYg9Rz1ZE5CWYGkwig2 |url-status=live }} and justifies his description as an American Impressionist.
Students were attracted into the area to study with some of these artists. Writing in 1907, Jane Quigley testified of Max Bohm that 'He attracts a following of students by his power as a teacher and the vigorous and sincere personality which exacts good work from all who come under his influence". This was certainly so of the New Zealand artist Samuel Hales (1868–1953), whose painting "La Nuit" was exhibited at the Paris Salon in 1897.{{cite web |url=http://cornwallartists.org/directory/h?page=1 |title=H | cornwall artists index |publisher=Cornwallartists.org |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202232637/http://cornwallartists.org/directory/h?page=1 |url-status=live }} A later student was the English Jessica Dismorr, who studied with Bohm in 1904 and went on to adopt a Fauvist and then a Vorticist style.
Gallery 3: Boats
File:Charles-François Daubigny - Bateaux sur la côte à Étaples (1871).jpg|Charles-François Daubigny, Boats on the strand at Étaples, 1871
File:Martin Harbour.jpg|Homer Martin, The harbour at Étaples, c. 1884
File:Bohm+EN+MER.jpg|Max Bohm, At Sea, 1898
File:Baker-Clack Boatyard.jpg|Arthur Baker-Clack, The Boat Yard, 1913
:b) British colonials
While Bohm taught in Étaples, the Australian artist Rupert Bunny did most of his teaching in Paris. But between 1893 and 1907 he was a frequent visitor and has left some memorable paintings, among them the atmospheric "Light on the Canche"{{cite web |url=http://www.charleneking.com/blog/wp-content/uploads/2010/04/BunnyEtaples.jpg |title=Image |publisher=Charleneking.com |access-date=2013-11-26 |archive-date=2012-04-25 |archive-url=https://web.archive.org/web/20120425050120/http://www.charleneking.com/blog/wp-content/uploads/2010/04/BunnyEtaples.jpg |url-status=dead }} and "Low tide at Étaples",[https://archive.today/20120707065953/http://c48743.r43.cf3.rackcdn.com/Images/2011_01/17/0029/1096262/129397293077772021_81183350-5085-4362-b7b3-a2c9021d66ad_303767_570.Jpeg 129397293077772021_81183350-5085-4362-b7b3-a2c9021d66ad_303767_570.Jpeg (570x370 pixels)] both dating from 1902, the same year as "Rainy weather at Étaples" (Gallery 1). Among the students that followed him down was his fellow countrywoman Marie Tuck (1866–1947), who paid for her tuition by cleaning out his studio and came to live in Étaples between 1907 and 1914,{{cite web |url=http://www.daao.org.au/bio/marie-tuck |title=Marie Tuck biography at Design and Art Australia Online |publisher=Daao.org.au |access-date=2013-11-26 |archive-date=2013-12-05 |archive-url=https://web.archive.org/web/20131205065902/http://www.daao.org.au/bio/marie-tuck/ |url-status=live }} and Arthur Baker-Clack (1877–1955), another Australian, who settled in Trépied in 1910. While there he painted a local thatched cottage, "Le Chaumine",{{cite web |url=http://www.artnet.com/PDB/PublicLotDetails.aspx?lot_id=427408020 |title=Public Auction List |publisher=Artnet.com |access-date=2013-11-26 |archive-date=2010-11-17 |archive-url=https://web.archive.org/web/20101117120509/http://www.artnet.com/PDB/PublicLotDetails.aspx?lot_id=427408020 |url-status=live }} and "The boat yard" in Étaples in Neo-Impressionist style (Gallery 3).
Some twenty-five antipodean painters, twenty-two Australians and three New Zealanders, are mentioned in Jean-Claude Lesage's study.[https://archive.today/20120717033244/http://users.tpg.com.au/npounder/jean_claude_lesage.htm Jean-Claude Lesage] Among them was E. Phillips Fox, who was connected with several of the French artists' colonies and the plein air style associated with them.[https://archive.today/20131126011913/http://adb.anu.edu.au/biography/fox-emanuel-phillips-622 Australian Dictionary of Biography] Two Australian women are particularly notable: Iso(bel) Rae (1860–1940), who joined the colony in 1890 and exhibited in the Paris Salons, and Emily Hilda Rix (1884–1961), who maintained a studio in Étaples between 1911 and 1914. While there she executed the paintings "An old peasant woman in my garden", later bought by the National Gallery of Victoria,{{Cite Australian Dictionary of Biography |last=Mitchell |first=Avenel |id2=nicholas-emily-hilda-7837 |title=Emily Hilda Rix Nicholas (1884–1961) |year=1988 |volume=11 |access-date=2013-11-26 |archive-date=2013-12-04 |url=http://adb.anu.edu.au/biography/nicholas-emily-hilda-7837 |archive-url=https://web.archive.org/web/20131204081408/http://adb.anu.edu.au/biography/nicholas-emily-hilda-7837 |url-status=dead }} "Picardy Girl" (1913){{cite web |url=http://www.artvalue.com/auctionresult--rix-nicholas-hilda-emily-1884-picardy-girl-1892786.htm |title=PICARDY GIRL sold by Sotheby's, Melbourne, on Monday, August 28, 2006 |publisher=Artvalue.com |date=2006-08-28 |access-date=2013-11-26 |archive-date=2012-04-04 |archive-url=https://web.archive.org/web/20120404141633/http://www.artvalue.com/auctionresult--rix-nicholas-hilda-emily-1884-picardy-girl-1892786.htm |url-status=dead }} and the pastel drawing "There is a Dear Old Fairy Godmother who Poses for Us".{{cite web |url=http://www.artoftheprint.com/artistpages/rix_nicholas_emily_hilda_fairy_godmother.htm |title=Emily Hilda Rix Nicholas – There was a Dear Old Fairy GodMother |publisher=Artoftheprint.com |access-date=2013-11-26 |archive-date=2016-02-02 |archive-url=https://web.archive.org/web/20160202175506/http://www.artoftheprint.com/artistpages/rix_nicholas_emily_hilda_fairy_godmother.htm |url-status=live }} There were also New Zealand women artists painting together during this time, including Frances Hodgkins, Grace Joel (1865–1924) and Constance Jenkins Macky.{{cite web |url=http://arthistoriography.files.wordpress.com/2011/05/butler.pdf |title=Cities within cities: Australian and New Zealand art in the 20th century |author=Rex Butler and A.D.S. Donaldson |publisher=Arthistoriography.files.wordpress.com |access-date=2013-11-26 |archive-date=2014-06-30 |archive-url=https://web.archive.org/web/20140630045320/http://arthistoriography.files.wordpress.com/2011/05/butler.pdf |url-status=live }}
Another New Zealand visitor was Eric Spencer Macky (1880–1958), who went on to make a career for himself in the United States.{{cite web |url=http://www.annexgalleries.com/artists/biography/1469/Macky/Eric |title=Eric Spencer Macky Biography | Annex Galleries Fine Prints |publisher=Annexgalleries.com |date=1958-05-05 |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202225400/http://www.annexgalleries.com/artists/biography/1469/Macky/Eric |url-status=live }} Macky had arrived with his Canadian friend A. Y. Jackson and they took a studio together between May and December 1908. Jackson painted his "Paysage embrumée" then and, rather to his surprise, it was accepted by the Paris Salon.{{cite book |url=https://books.google.com/books?id=Y1XlXIh1HKcC&q=etaples+%22artists+colony%22&pg=PA29 |title=A.Y. Jackson: The Life of a Landscape Painter – Wayne Larsen – Google Books |date=2009-09-21 |access-date=2013-11-26 |isbn=9781770704527 |last1=Larsen |first1=Wayne |publisher=Dundurn |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191937/https://books.google.com/books?id=Y1XlXIh1HKcC&q=etaples+%22artists+colony%22&pg=PA29#v=snippet&q=etaples%20%22artists%20colony%22&f=false |url-status=live }} Returning in 1912, he stayed in Trépied and painted with Arthur Baker-Clack. From this period date the Neo-Impressionist "Sand dunes at Cucq"[https://web.archive.org/web/20120501112816/http://visipix.dynalias.com/newsgroups/newsgroups/view_pic.php?ng=fine_arts&start=40&keywords=dune&lang=&pic_size=standard&group=0&searchmethod=fulltext Visipix.com] and "Autumn in Picardy",{{cite web |url=http://www.museumsyndicate.com/item.php?item=22013 |title=Autumn in Picardy by Alexander Young Jackson |publisher=Museumsyndicate.com |access-date=2013-11-26 |archive-date=2016-03-03 |archive-url=https://web.archive.org/web/20160303232058/http://www.museumsyndicate.com/item.php?item=22013 |url-status=dead }} which was bought by the National Gallery of Canada the following year. He was next to see Étaples in 1916, when taken to the hospital there after being wounded in World War I.{{cite book |url=https://books.google.com/books?id=WGjfZPizNQIC&q=+%C3%89taples+&pg=PT99 |title=Defiant Spirits: The Modernist Revolution of the Group of Seven – Ross King – Google Books |date=2010-09-25 |access-date=2013-11-26 |isbn=9781553658078 |last1=King |first1=Ross |publisher=D & M Publishers |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109192040/https://books.google.com/books?id=WGjfZPizNQIC&q=+%C3%89taples+&pg=PT99#v=onepage&q=%C3%89taples&f=false |url-status=live }} A fellow Canadian painting in the town was the Welsh-born Robert Harris, who followed the Impressionist fascination with railway architecture and made the railway bridge over the Canche one of his subjects in 1911.{{cite web |url=http://amica.davidrumsey.com/luna/servlet/detail/AMICO~1~1~107542~83308:Etaples,-France?sort=initialsort_crn%2Cocs%2Camicoid&qvq=w4s:/who/National+Gallery+of+Canada/what/Paintings;sort:initialsort_crn%2Cocs%2Camicoid;lc:AMICO~1~1&mi=318&trs=1106 |title=Etaples, France – The AMICA Library |publisher=Amica.davidrumsey.com |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202231757/http://amica.davidrumsey.com/luna/servlet/detail/AMICO~1~1~107542~83308:Etaples,-France?sort=initialsort_crn%2Cocs%2Camicoid&qvq=w4s:/who/National+Gallery+of+Canada/what/Paintings;sort:initialsort_crn%2Cocs%2Camicoid;lc:AMICO~1~1&mi=318&trs=1106 |url-status=live }}
Gallery 4: Exteriors
File:Beach at etaples 1887.jpg|Philip Wilson Steer, Beach at Étaples, 1887
File:Gay-November.jpg|Walter Gay, November – Étaples, 1885
File:Dessar-Summer sunlight.jpg|Louis Paul Dessar, Summer Sunlight, 1894
:c) British and Irish
The only considerable English painter connected with Étaples was Philip Wilson Steer, who spent some time there in 1887. His misty Impressionist style is striking in such paintings as "The Beach" (Gallery 4) and "Fisher Children".{{cite web |url=http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=4295575 |title=Philip Wilson Steer, O.M. (1860–1942) | Fisher Children, Étaples | Christie's |publisher=Christies.com |date=2004-06-04 |access-date=2013-11-26 |archive-date=2013-12-03 |archive-url=https://web.archive.org/web/20131203013835/http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=4295575 |url-status=live }} Another work for which he certainly made a preliminary study while there, "The Bridge", is now considered to have been painted in Walberswick, the English estuary town to which he next moved.{{cite web|url=http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=13791&searchid=9439&roomid=false&tabview=text&texttype=8 |title='The Bridge', Philip Wilson Steer |publisher=Tate |access-date=2013-11-26}} Other painters are mainly of topographical interest. Dudley Hardy (1866–1922) captured an evening effect in a watercolour of 1888, looking from the south side of the Canche and showing the windmills that dominated the town at that period.{{cite web |url=http://www.thelyndacottongallery.co.uk/period_description.php?id=69 |title=Dudley Hardy |publisher=The Lynda Cotton Gallery |access-date=2013-11-26 |archive-url=https://web.archive.org/web/20131202235219/http://www.thelyndacottongallery.co.uk/period_description.php?id=69 |archive-date=2013-12-02 |url-status=dead }} Nora Cundell (1889–1948) takes us into the back parlour of the Cafe Loos, through the doorway of which one can see a few artist types at table.{{cite web |url=https://artuk.org/discover/artworks/the-back-parlour-cafe-loos-taples-france-65885 |title=The Back Parlour, Café Loos, Étaples, France |publisher=Art UK |access-date=2013-11-26 |archive-date=2016-03-14 |archive-url=https://web.archive.org/web/20160314050430/http://artuk.org/discover/artworks/the-back-parlour-cafe-loos-taples-france-65885 |url-status=live }}
One English artist who visited the area over many years from 1904 onwards was William Lee Hankey. Eventually he was to have a house built in Le Touquet and maintain a studio at Étaples. His paintings include land- and seascapes such as "The Harbour",[https://archive.today/20120712075400/http://c48743.r43.cf3.rackcdn.com/Images/2009_07/05/0150/526157/a1dcd253-4fcd-4138-a51c-cba4d6da2168_g_570.Jpeg a1dcd253-4fcd-4138-a51c-cba4d6da2168_g_570.Jpeg (507x419 pixels)] and figure studies like "Mother and Child"{{cite web |url=http://www.skinnerinc.com/asp/fullCataloguese.asp?salelot=2129+++++215+&refno=++456342 |title=William Lee Hankey (British, 1869–1952) Mother and Child | Sale Number 2129, Lot Number 215 | Skinner Auctioneers |publisher=Skinnerinc.com |date=2002-03-22 |access-date=2013-11-26 |archive-date=2012-04-06 |archive-url=https://web.archive.org/web/20120406044357/http://www.skinnerinc.com/asp/fullCataloguese.asp?salelot=2129%20%20%20%20%20215%20&refno=%20%20456342 |url-status=dead }} and "The Goose Girl".{{cite web |url=http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=4027211 |title=William Lee-Hankey, R.W.S. (1869–1952) | The Goose Girl | Christie's |publisher=Christies.com |date=2002-11-27 |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202233118/http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=4027211 |url-status=live }} But it was his black and white and coloured etchings of the people of the town, several developed from these paintings,{{cite web |url=http://www.campbell-fine-art.com/cat_works.php?art=63&pg=1#671 |title=William Lee-Hankey at Campbell Fine Art |publisher=Campbell-fine-art.com |date=2002-12-04 |access-date=2013-11-26 |archive-date=2013-12-03 |archive-url=https://web.archive.org/web/20131203043107/http://www.campbell-fine-art.com/cat_works.php?art=63&pg=1#671 |url-status=live }} which gained him a reputation as 'one of the most gifted of the figurative printmakers working in original drypoint during the first thirty years of the 20th century'.{{cite web |url=http://www.campbell-fine-art.com/items.php?id=671 |title=Women of Étaples by William Lee-Hankey |publisher=Campbell-fine-art.com |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202234555/http://www.campbell-fine-art.com/items.php?id=671 |url-status=live }} Several other makers of fine colour prints also stayed in Étaples, including the marine painter Nelson Dawson, four of whose prints resulting from his visit in 1910 are in the collection of his work at Georgetown University,{{cite web |url=http://gulib.georgetown.edu/dept/speccoll/guac/dawson_09 |title=Georgetown University Library: Etched by the Sea – Marine Views of Nelson Dawson |publisher=Gulib.georgetown.edu |date=2009-11-01 |access-date=2013-11-26 |archive-url=https://web.archive.org/web/20120724162326/http://gulib.georgetown.edu/dept/speccoll/guac/dawson_09/ |archive-date=2012-07-24 |url-status=dead }} and the pioneer of Japanese-style woodblock printing, Frank Morley-Fletcher, who pictured the road from Trépied in 1910 (Gallery 5).
Among the Scots, three of the four Post-Impressionist painters known as the Scottish Colourists worked in the area. The two friends John Duncan Fergusson and Samuel Peploe regularly painted together at Paris Plage{{cite web |url=http://www.duncanmiller.com/pages/exhibitions/94/6614.html |title=Paris Plage, Evening by John Duncan Fergusson R.B.A |publisher=Duncanmiller.com |access-date=2013-11-26 |url-status=dead |archive-url=https://web.archive.org/web/20130124081751/http://www.duncanmiller.com/pages/exhibitions/94/6614.html |archive-date=2013-01-24 }}{{cite web |url=http://www.portlandgallery.com/artist/J_D_Fergusson/item/archive/12926/paris_plage |title=J D Fergusson – Paris Plage |publisher=Portland Gallery |access-date=2013-11-26 |archive-date=2013-12-03 |archive-url=https://web.archive.org/web/20131203012645/http://www.portlandgallery.com/artist/J_D_Fergusson/item/archive/12926/paris_plage |url-status=dead }}{{cite web |url=https://www.flickr.com/photos/34326717@N03/5561649174 |title=John Duncan Fergusson, Jour Gris : Paris Plage | Flickr – Photo Sharing! |publisher=Flickr |date=2011-03-10 |access-date=2013-11-26 |archive-date=2013-12-18 |archive-url=https://web.archive.org/web/20131218124001/http://www.flickr.com/photos/34326717@N03/5561649174 |url-status=live }}{{cite web |url=http://www.globalartprints.co.uk/John-Duncan-Fergusson-Paris-Plage-1907-Art-Print |title=Paris Plage, 1907 : Limited Edition Prints, Signed Art Prints, Collectable Wall Art and Screen Prints, Limited Edition Fine Art Prints |publisher=Globalartprints.co.uk |access-date=2013-11-26 |archive-date=2013-12-03 |archive-url=https://web.archive.org/web/20131203052301/http://www.globalartprints.co.uk/John-Duncan-Fergusson-Paris-Plage-1907-Art-Print |url-status=live }}{{cite web |url=http://www.1st-art-gallery.com/Samuel-John-Peploe/Paris-Plage.html |title=Paris Plage Samuel John Peploe | Oil Painting Reproduction |publisher=1st-Art-Gallery.com |access-date=2013-11-26 |archive-date=2013-12-03 |archive-url=https://web.archive.org/web/20131203011517/http://www.1st-art-gallery.com/Samuel-John-Peploe/Paris-Plage.html |url-status=live }}{{cite web |url=http://www.wikigallery.org/wiki/painting_243290/Samuel-John-Peploe/Paris-Plage |title=Paris-Plage, c.1906 – Samuel John Peploe – WikiGallery.org, the largest gallery in the world |publisher=Wikigallery.org |access-date=2013-11-26 |archive-date=2013-12-03 |archive-url=https://web.archive.org/web/20131203010954/http://www.wikigallery.org/wiki/painting_243290/Samuel-John-Peploe/Paris-Plage |url-status=live }}{{cite web |url=http://www.artnet.com/pdb/publiclotdetails.aspx?lot_id=426711404&page=1 |title=Public Auction List |publisher=Artnet.com |access-date=2013-11-26 |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191939/http://www.artnet.com/pdb/publicauctionlist.aspx |url-status=live }}{{cite web |url=http://www.mutualart.com/Artwork/PARIS-PLAGE/0BA3F8F4F20F9C9E |title=Samuel John Peploe – PARIS PLAGE, oil on board on |publisher=Mutualart.com |date=2000-08-30 |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202225150/http://www.mutualart.com/Artwork/PARIS-PLAGE/0BA3F8F4F20F9C9E |url-status=live }} between 1904 and 1909 on visits which also included sessions in Étaples.{{cite web |url=http://www.aagm.co.uk/thecollections/objects/object/On-the-Beach---Etaples |title=Aberdeen Art Gallery & Museums | ObjectRewriter |publisher=Aagm.co.uk |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202234713/http://www.aagm.co.uk/thecollections/objects/object/On-the-Beach---Etaples |url-status=live }}{{cite web |url=http://www.mutualart.com/Artwork/ETAPLES-FROM-THE-BEACH/EC99A6BCE1C1CF20 |title=John Duncan Fergusson – ETAPLES FROM THE BEACH on |publisher=Mutualart.com |date=2002-04-15 |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202223655/http://www.mutualart.com/Artwork/ETAPLES-FROM-THE-BEACH/EC99A6BCE1C1CF20 |url-status=live }}{{cite web |url=http://www.intofineart.com/htmlimg/image-39317.html |title=Etaples Samuel John Peploe Open picture USA Oil Painting Reproductions |publisher=Intofineart.com |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202232438/http://www.intofineart.com/htmlimg/image-39317.html |url-status=live }} Leslie Hunter, the other member of this trio, only began to make a name for himself after the works he produced during his visit to Étaples in 1914 identified him too as a colourist. They included paintings of figures on the beach{{cite web |url=http://www.gustavklimtgallery.org/painting-George%20Leslie%20Hunter-Etaples-39345.htm |title=Gustav Klimt Museum: Etaples George Leslie Hunter |publisher=Gustavklimtgallery.org |access-date=2013-11-26 |archive-url=https://web.archive.org/web/20131202224457/http://www.gustavklimtgallery.org/painting-George%20Leslie%20Hunter-Etaples-39345.htm |archive-date=2013-12-02 |url-status=dead }}{{cite web |url=http://www.mutualart.com/Artwork/FIGURES-IN-CONVERSATION--ETAPLES/1B25E20D49C9AC14 |title=George Leslie Hunter – FIGURES IN CONVERSATION,... on |publisher=Mutualart.com |date=2005-08-31 |access-date=2013-11-26 |archive-date=2014-11-29 |archive-url=https://web.archive.org/web/20141129022311/http://www.mutualart.com/Artwork/FIGURES-IN-CONVERSATION--ETAPLES/1B25E20D49C9AC14 |url-status=live }} and a study of "Fishing boats in the harbour".[https://archive.today/20120713111606/http://jonathanclarkfineart.com/art/main.php?g2_itemId=5347 Ivon Hitchens, Roger Hilton, Kenneth Armitage, Adrian Heath, Bryan Wynter, John Wells, Brian Fielding, Bernard Sindall] A rather more permanent resident in the area was the slightly older Scot, Thomas Austen Brown (1857–1924), who was living in the nearby village of Camiers to the north and whose work was characteristically Impressionist.{{cite web |url=https://artuk.org/search/search/search/keyword:thomas-austen-brown |title=Thomas Austen Brown paintings |publisher=Art UK |access-date=2013-11-26 |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109192101/https://artuk.org/search/search/search/keyword:thomas-austen-brown--referrer:global-search |url-status=live }} His "Sunshine and Shadow", a view of Étaples through the trees on the south bank of the Canche,{{cite web |url=https://artuk.org/discover/artworks/sunshine-and-shadow-23521 |title=Image : Sunshine and Shadow |publisher=Art UK |access-date=2013-11-26 |archive-date=2016-03-14 |archive-url=https://web.archive.org/web/20160314050329/http://artuk.org/discover/artworks/sunshine-and-shadow-23521 |url-status=live }} is in this style while his "Shrimpers Returning" (Gallery 2) verges on the Neo-Impressionist. Brown was also a notable maker of prints and in 1919 published his Étaples: Pictures, which included 28 tipped-in illustrations, of which ten were in colour.
Gallery 5: Prints
File:Fletcher Trépied.jpg|Frank Fletcher, Trépied, 1910
File:Dawson Fisherwomen.jpg|Nelson Dawson, 3 fisherwomen from Étaples, 1912
File:Hankey fisherfolk.jpg|William Lee Hankey, Étaples fisherfolk, 1920
Among those painters known as Irish ImpressionistsJulian Campbell, The Irish Impressionists, The National Gallery of Ireland 1984 were the peripatetic William Gerard Barry and the short-lived Frank O'Meara, whose early visit to Étaples has already been mentioned. Another of this group was Barry's protégé Harry Scully,{{cite web |url=http://www.mpfa.ie/scully.htm |title=Irish Art Archive – Harry Scully – Milmo-Penny Fine Art |publisher=Mpfa.ie |access-date=2013-11-26 |archive-url=https://web.archive.org/web/20131202235550/http://www.mpfa.ie/scully.htm |archive-date=2013-12-02 |url-status=dead }} who stopped in the town in 1896 but was identified with many other art colonies as well. Sarah Cecilia Harrison, noted for her paintings of children and landscapes, was there in 1890 and her "On the road to Étaples" was exhibited at the Royal Hibernian Academy the following year.Campbell (1984), p.95 In 1898 Edith Somerville was painting in the town, companioned by her friend Violet Martin. In this case, though, they profited from their stay by conceiving together the stories gathered in Some Experiences of an Irish R. M. (1899).{{cite book |url=https://books.google.com/books?id=tG9B6b5jFZgC&q=%C3%89taples&pg=PA212 |title=The Professional Literary Agent in Britain, 1880–1920 – Mary Ann Gillies – Google Books |date=January 2007 |access-date=2013-11-26 |isbn=9780802091475 |last1=Gillies |first1=Mary Ann |publisher=University of Toronto Press |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109191940/https://books.google.com/books?id=tG9B6b5jFZgC&q=%C3%89taples&pg=PA212#v=snippet&q=%C3%89taples&f=false |url-status=live }} In the following decade Edward Millington Synge (1866-1913) passed some of the winter there and executed "The Thaw, Etaples" (1909), a watercolour of a muddy lane under trees with 'pale yellow sky, purple hills, dull red roof, grey and purple roadway, all obscured by patches of half melted snow'.{{cite web|url=https://archive.org/stream/internationalstu58newy#page/148/mode/2up/search/Synge |title=International studio |access-date=2013-11-26|publisher=New York |year=1897 }} Also noted for etching, his print of a winter sunset also dates from this stay. The previous year he had married Freda Molony (1869–1924), whose name was mentioned at this period as among those painting in the town and as a successful exhibitor at the Royal Academy. Among her paintings was one of "The Blessing of the Fishing Fleet" at Étaples (1906).{{cite web |url=http://www.artnet.com/artists/lotdetailpage.aspx?lot_id=A1A4EA751E1D0824 |title=The blessing of the fishing fleet, Etaples, Brittany by Freda Moloney on artnet |publisher=Artnet.com |access-date=2013-11-26 |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109192443/https://www.artnet.com/artists/freda-moloney/the-blessing-of-the-fishing-fleet-etaples-QwHuAkJ-xNx3yoyTD66NmQ2 |url-status=live }}
Gallery 6: Interiors
File:William Gerard Barry - An old woman and children in a cottage interior (1910).jpg|William Gerard Barry, An old woman and children in a cottage interior, 1887
File:Rae Iso-Rogation Sunday.jpg|Iso Rae, Rogation Sunday, 1913
Aftermath
With the outbreak of war, the artists in the colony scattered elsewhere.
Some American artists also hung on for a while. Writing in the New York Times in February 1915, the newly returned Arnold Slade gave an account of the military build-up in the area.{{cite web |url=https://timesmachine.nytimes.com/timesmachine/1915/02/21/104641562.pdf |title=AMERICAN ARTIST VISITS NEW BRITISH BASE CAMP – Just Back from Etaples, France, He Tells of Vast Preparations for 1,500,000, Men. AMERICAN ARTIST VISITS BRITISH BASE CAMP – View Article – NYTimes.com |work=New York Times |date=1915-02-21 |access-date=2013-11-26 |archive-date=2021-11-01 |archive-url=https://web.archive.org/web/20211101001451/https://timesmachine.nytimes.com/timesmachine/1915/02/21/104641562.pdf |url-status=live }} He also mentioned how American artists in the town had volunteered for 12-hour shifts feeding troops as they passed through the station. But almost the only artist to stay on in Étaples throughout the war and record the military activity there was Iso Rae. While working for the Voluntary Aid Detachment (VAD) of the British Red Cross between 1915 and 1919, she produced about 200 pastel drawings of the army camp and the life of the soldiers there.{{cite web |url=http://www.awm.gov.au/wartime/8/articles/iso_rae.pdf |title=Iso Rae in Etaples : another perspective of war |author=Betty Snowden |publisher=Awm.gov.au |access-date=2013-11-26 |url-status=dead |archive-url=https://web.archive.org/web/20130411164433/https://www.awm.gov.au/wartime/8/articles/iso_rae.pdf |archive-date=2013-04-11 }}
Another medical volunteer connected with the camp was the Yorkshireman Fred Lawson (1888–1968),{{cite news|url=http://www.yorkshirepost.co.uk/news/around-yorkshire/local-stories/sketching_a_rich_slice_of_social_history_1_2611409 |title=Sketching a rich slice of social history |newspaper=Yorkshire Post |access-date=2013-11-26}}{{broken link|date=November 2022}} who painted a watercolour of the town.{{cite web |url=http://www.tennants.co.uk/Catalogue/Lots/89891.aspx#image |title=Tennants Auctioneers: Frederick (Fred) Lawson (1888–1968) |publisher=Tennants.co.uk |access-date=2013-11-26 |archive-url=https://web.archive.org/web/20131202232235/http://www.tennants.co.uk/Catalogue/Lots/89891.aspx#image |archive-date=2013-12-02 |url-status=dead }} There were also a few who painted among those in uniform. William McDougall Anderson (1883–1917) was a Scottish stained glass artist who served as a Lance Corporal and made a few studies while passing through Étaples in October 1916.{{cite web |author=Imperial War Museum |year=2013 |work=IWM Collection Search |url=http://www.iwm.org.uk/collections/search?query=&f%5b0%5d=makerString%3AAnderson%2C%20William%20McDougall&items_per_page=50 |title=Anderson's work in the Imperial War Museum Collection |access-date=10 March 2013 |author-link=Imperial War Museum |archive-date=3 December 2013 |archive-url=https://web.archive.org/web/20131203024825/http://www.iwm.org.uk/collections/search?query=&f%5b0%5d=makerString%3AAnderson%2C%20William%20McDougall&items_per_page=50 |url-status=live }}
Two war artists were present during the German air raid on Étaples in May 1918 which also targeted the hospitals. Austin Spare, who was in the Royal Army Medical Corps, recorded the scene of devastation left by the raid.{{cite web |url=http://www.iwm.org.uk/collections/item/object/25095 |title=Etaples After the Great Air Raid, 1918 (Art.IWM ART 3641) |work=IWM Collections Search |author=Imperial War Museum |year=2013 |access-date=10 March 2013 |author-link=Imperial War Museum |archive-date=26 April 2012 |archive-url=https://web.archive.org/web/20120426163433/http://www.iwm.org.uk/collections/item/object/25095 |url-status=live }} J. Hodgson Lobley (1878–1954), also serving in the RAMC at the time, pictured men constructing an underground dug-out which would serve as a shelter.{{cite web |url=http://www.iwm.org.uk/collections/item/object/16900 |year=2013 |access-date=10 March 2013 |work=IWM Collections Search |author=Imperial War Museum |title=Galleries of Large Dug-outs at Etaples (Art.IWM ART 3670) |author-link=Imperial War Museum |archive-date=11 June 2015 |archive-url=https://web.archive.org/web/20150611170344/http://www.iwm.org.uk/collections/item/object/16900 |url-status=live }} John Lavery, one of the official British war artists, had been prevented by illness from leaving the country during the war but visited Étaples in 1919. Moved by the sight of the war cemetery that was served then only by a few women VADs, before it was officially designated by the War Graves Commission, he painted it in its sandy starkness.{{cite web |url=http://www.iwm.org.uk/collections/item/object/16275 |year=2013 |access-date=10 March 2013 |work=IWM Collections Search |author=Imperial War Museum |title=The Cemetery, Etaples, 1919 (Art.IWM ART 2884) |author-link=Imperial War Museum |archive-date=11 June 2015 |archive-url=https://web.archive.org/web/20150611124451/http://www.iwm.org.uk/collections/item/object/16275 |url-status=live }} He also painted the officers' convalescent home over the bridge in privileged Le Touquet.{{cite web |url=http://www.iwm.org.uk/collections/item/object/16276 |year=2013 |access-date=10 March 2013 |work=IWM Collections Search |author=Imperial War Museum |title=The QMAAC Convalescent Home, Le Touquet, 1919 (Art.IWM ART 2885) |author-link=Imperial War Museum |archive-date=26 April 2012 |archive-url=https://web.archive.org/web/20120426163450/http://www.iwm.org.uk/collections/item/object/16276 |url-status=live }}
Soldier poets also passed through the camp at Étaples, among them Wilfred Owen, who commented unfavourably upon it.Snowden p.38 The author J.R.R. Tolkien 'wrote a poem about England' while passing through on his way to the front in 1915.{{cite book |url=https://books.google.com/books?id=uDQusCjsL-YC&q=Etaples+poem+--Jacques+-Lefevre&pg=PT80 |title=J. R. R. Tolkien: A Biography – Humphrey Carpenter – Google Books |date=2011-04-28 |access-date=2013-11-26 |isbn=9780007381258 |last1=Carpenter |first1=Humphrey |publisher=HarperCollins UK |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109192444/https://books.google.com/books?id=uDQusCjsL-YC&q=Etaples+poem+--Jacques+-Lefevre&pg=PT80#v=onepage&q=Etaples%20poem%20--Jacques%20-Lefevre&f=false |url-status=live }} C.S. Lewis was injured in 1918 and wrote many of the poems in his Spirits in Bondage (1919) while in the Liverpool Merchants Mobile Hospital at Étaples.{{cite book |url=https://books.google.com/books?id=8OskozFVBMYC&q=C.S.Lewis+Etaplespp.92-4&pg=PA92 |title=C.S. Lewis: An examined life – Google Books |access-date=2013-11-26 |isbn=9780275991173 |last1=Edwards |first1=Bruce L. |year=2007 |publisher=Greenwood Publishing |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109192444/https://books.google.com/books?id=8OskozFVBMYC&q=C.S.Lewis+Etaplespp.92-4&pg=PA92 |url-status=live }} A longer-term resident was Iso Rae's fellow volunteer, Vera Brittain, whose Verses of a V.A.D. (1918){{cite web |url=http://www.oucs.ox.ac.uk/ww1lit/db/results.php?CISOROOT=%2Fww1&CISOSORT=descrif&CISOOP1=all&CISOFIELD1=CISOSEARCHALL&CISOBOX1=&CISOOP2=all&CISOFIELD2=author&CISOBOX2=vera+brittain |title=Vera Brittain (1893–1970) works |publisher=Oucs.ox.ac.uk |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202235521/http://www.oucs.ox.ac.uk/ww1lit/db/results.php?CISOROOT=%2Fww1&CISOSORT=descrif&CISOOP1=all&CISOFIELD1=CISOSEARCHALL&CISOBOX1=&CISOOP2=all&CISOFIELD2=author&CISOBOX2=vera+brittain |url-status=dead }} was written while working in the military hospital and drew on her experiences there.{{cite book |url=https://books.google.com/books?id=-zZYuqAXPv4C&q=Etaples+poem+--Jacques+-Lefevre&pg=PT14 |title=Because You Died: Poetry and Prose of the First World War and After – Vera Brittain – Google Books |date=2010-02-04 |access-date=2013-11-26 |isbn=9780748118410 |last1=Brittain |first1=Vera |publisher=Little, Brown Book |archive-date=2023-11-09 |archive-url=https://web.archive.org/web/20231109192447/https://books.google.com/books?id=-zZYuqAXPv4C&q=Etaples+poem+--Jacques+-Lefevre&pg=PT14 |url-status=live }} Muriel Stuart also devoted a poem to the town in her first collection, which included several references to the war:
:::'Étaples', a strange, vague word
:::Spelled on the lips of the guns
:::Where all that our wild hearts loved
:::Went through with the regiment once!{{cite web |url=http://theotherpages.org/poems/idols.html |title=Poets' Corner – Muriel Stuart – Cockpit of Idols |publisher=Theotherpages.org |access-date=2013-11-26 |archive-date=2013-12-02 |archive-url=https://web.archive.org/web/20131202235442/http://theotherpages.org/poems/idols.html |url-status=live }}
A few resident artists from the colony came back after the war, among them Myron Barlow, Arthur Baker-Clack{{cite news |url=http://nla.gov.au/nla.news-article58542755 |title=HOME of BEAUTY from the RUINS of WAR. |newspaper=The Mail |location=Adelaide |date=23 April 1927 |access-date=21 December 2012 |page=17 |publisher=National Library of Australia |archive-date=9 November 2023 |archive-url=https://web.archive.org/web/20231109192449/https://trove.nla.gov.au/newspaper/article/58542755 |url-status=live }} and Henry Tanner, who had been working for the American Red Cross in France. In 1923 he was made a knight of the Legion of Honour for his work as an artist – as was Barlow in 1932. Iso Rae moved out of Étaples to Trépied, where she stayed until 1932, with Tanner as a neighbour. Tanner's biographer records, 'life at Trépied was never to be what it had been before the war. An artists' colony still existed...but something was missing. Many of the old crowd did not return and those who did were less in step with the times.'
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