THIEME, Anthony (1888-1954)"Arcade in St. Augustine"Oil on Canvas24 x 29 inchesFrom :Lost Colony: The Artists of St. Augustine, 1930-1950 by Robert Wilson Torchia
"The Art Association gradually became a provincial organization run by local art enthusiasts.
Other circumstances also prevented the Art Association from fulfilling its potential. Motivated largely by self-interest, St. Augustine's business community generously supported the group, but during the Bonfield years the association's pragmatic values and aesthetic conservatism began to stifle creativity. With few exceptions, the city's art community was unwilling to embrace the abstract expressionism that was de rigueur in more sophisticated northern art colonies, such as Provincetown, where the presence of Hans Hoffman (1880-1966) attracted some of the most famous and progressive American artists of the era. The Art Association's officers were out of step with their time and invariably sought to attract traditionalists, such as Kronberg, Thieme, Wiggins, and Woodward, to serve as magnets for other artists. Many of the paintings produced by the group's artists -- for example, Fritz -- were unabashedly souvenirs for the tourist market, and there was a limit to how long such subjects as historic houses, shrimp boats, and the semitropical landscape could maintain the consumer's interest."
Other circumstances also prevented the Art Association from fulfilling its potential. Motivated largely by self-interest, St. Augustine's business community generously supported the group, but during the Bonfield years the association's pragmatic values and aesthetic conservatism began to stifle creativity. With few exceptions, the city's art community was unwilling to embrace the abstract expressionism that was de rigueur in more sophisticated northern art colonies, such as Provincetown, where the presence of Hans Hoffman (1880-1966) attracted some of the most famous and progressive American artists of the era. The Art Association's officers were out of step with their time and invariably sought to attract traditionalists, such as Kronberg, Thieme, Wiggins, and Woodward, to serve as magnets for other artists. Many of the paintings produced by the group's artists -- for example, Fritz -- were unabashedly souvenirs for the tourist market, and there was a limit to how long such subjects as historic houses, shrimp boats, and the semitropical landscape could maintain the consumer's interest."
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