Fall - 2022

San Francisco (the art capital of theWest) and drove many artists to finally call Carmel their permanent home. The artists busy at work in Carmel before the quake mostly came from Oakland and Berkeley, and many of them were women. It was a group of women, including Jane Gallatin Powers, who formed the Carmel Arts and Crafts Club in 1905, a CAA precursor. By 1910, this group was bringing world-renowned painters to the area to teach at its Summer School of Painting, a program that lasted into the 1920s. In 1925, after the Carmel Arts and Crafts Club ceased holding their annual exhibition, the city’s lack of a permanent art gallery could no longer be ignored. The Pine Cone EditorW.L. Overstreet went so far as to write a front page editorial about Carmel’s need for a “general art gallery.”Artist JennieV. Cannon replied in a letter extolling the virtues of having a proper art association and scold- ing Carmelites for their inability to unite. Cannon was a member of the Laguna Beach Art Association, where an artist cooperative gallery had been running for some time and, over the course of just a few years, had earned enough money to build a new gallery perfectly suited to their needs. Cannon steadily lobbied, discussing the benefits of an association and sharing what she had learned in Laguna Beach and in Berkeley (where 104 C A R M E L M A G A Z I N E • F A L L 2 0 2 2 Photo: Courtesy of the Carmel Art Association Elizabeth Strong, “Portrait of Wire-Haired Fox Terrier,” oil on canvas board, 18 x 15 in. Strong was the first professional female artist to paint in the area, sharing a studio in Monterey with Jules Tavernier in 1878. Photo: Courtesy of the Carmel Art Association Pedro de Lemos, “Golden Hour,” color block print, 10.25 x 5.25 in. De Lemos was the first president of the CAA. A man of many talents, de Lemos was a painter, architect, lecturer, museum director and educator. Photo: Photo: Courtesy of Stanford University Archive