In the winter of 1902, construction of the Byrdcliffe Arts Colony began on Mount Guardian just outside the hamlet of Woodstock, NY. Seven farms, 1500 acres in all, were purchased for the enterprise by a wealthy Englishman named Ralph Radcliffe Whitehead. By the time it was completed in 1903, 30 buildings stood, comprising what has been referred to as a “textbook example” of a utopian Arts and Crafts Community.

The Arts and Crafts movement began in England in the last quarter of the 19th century as a reaction against rapid urbanization and industrialization. Its most passionate and well-known English spokesmen were art critic, John Ruskin and artist, William Morris. They shared a rural, utopian ideal based on a brotherhood of artistic collaboration. They believed that life would have enhanced meaning if work reflected the nobility thought to have been lost when machines eliminated the need for the skills and art of hand craftsmanship.

Left: Zulma Steele-Parker, Purple Hills, c. 1914. Oil on board. 20.32 x 25.4 cm (8 x 10 inches). Gift of William R. Ginsberg // middle: Zulma Steele-Parker, Iris desk panel drawing, 1904. Graphite and colored pencil on paper. 22.86 x 17.46 cm (9 x 6 7/8 inches). Gift of Jill and Mark Willcox Jr. // right: White Pines Pottery, Pitcher with abstract designs, c. 1915-1926. Unglazed ceramic.

Ironically, it was those who benefited from the great wave of 19th century industrialization who had the means to rebel against it. Whitehead (1854-1929), the son of a wealthy mill owner from Yorkshire, England, came directly under the influence of utopian ideas when he studied with Ruskin at Oxford and later traveled with him in Europe. It is from Whitehead’s enduring vision to found his own “brotherhood of artists” community that Byrdcliffe owes its existence.

Whitehead came to America and married Jane Byrd McCall in 1892. The daughter of a prominent Philadelphia family, she shared her husband’s vision of an artist-craftsmen community. After faltering starts in California and Oregon, Whitehead and two acquaintances – Hervey White, a writer, and Bolton Brown, an artist and educator, crisscrossed the country searching for the perfect site. Brown found the natural beauty of the Catskills and their proximity to New York City ideal for an art school and craft workshop. Whitehead agreed, enchanted by the “painterly landscape”.

Byrdcliffe, taken from the middle names of Ralph and Jane, was fully built and operating by the summer of 1903. It had a large studio for Bolton Brown’s and Birge Harrison’s art classes, metalworking shop, pottery studio, woodworking shop, dairy barn, guest houses, dormitory for students, library, and Whitehead’s own house, White Pines. Unlike the vernacular architecture specific to the Hudson Valley, with its tidy white clapboard farmhouses, Byrdcliffe buildings resemble low rambling Swiss chalets characterized by their dark stained indigenous pine siding, gentle sloping roofs with wide overhangs, and ribbons of windows painted Byrdcliffe blue.

From left to right: Vivian Bevans, Fall Tree. Watercolor on paper. 9.84 x 7.3 cm (3 7/8 inches X 2 7/8 inches). Gift of the Douglas C. James Charitable Trust // Zulma Steele-Parker, Drop-Front Desk with Three Iris Panels, 1904. Oil paint and green stain on cherry wood. 127.95 x 98.42 x 40.64 cm (50 3/8 x 38 3/4 x 16 inches). Gift of Elise Glenne and the Douglas C. James Charitable Trust // Ralph and Jane Whitehead, selection of White Pines Pottery with textile created at Byrdcliffe Colony, c. 1915-1926. Ceramic, various sizes. Gift of the Douglas C. James Charitable Trust // Zulma Steele-Parker, Byrdcliffe, No. 4, c. 1914. Oil on board. 20.32 x 25.4 cm (8 x 10 inches). Aileen Cramer Fund in Memory of Aileen B. Cramer .

The years from 1903 to 1906 saw a great deal of activity, with teachers and students dedicated to their various endeavors of furniture making, pottery, weaving, photography, and painting. Social life revolved around twice weekly dances in the Studio and on the White Pines lawn. By 1907, internal strife among Whitehead, White, Brown, and many of the instructors took its toll. Whitehead’s autocratic tendencies and the natural disagreements among people living in a close community contributed to the demise of the “brotherhood of artists”.

Over the years, many notable visitors have been drawn to Byrdcliffe: feminist author Charlotte Perkins Gillman, New Dealer Harry Hopkins, educator John Dewey, naturalist John Burroughs, musicians Arnold Dolmetch, Leon Barzin and Bob Dylan, authors Will Durant and Thomas Mann, painters Milton and Sally Avery, George Bellows, and Philip Guston, photographer Eva Watson-Schütze, sculptor Eva Hesse, journalists Walter Weyl and Heywood Broun, poet Wallace Stevens, actress Helen Hayes, and entertainer Chevy Chase.

Thanks to the generosity of Whitehead’s son, Peter, Byrdcliffe was bequeathed in 1976 to the Woodstock Guild of Craftsmen, founded in 1939, and today operates under the name of Woodstock Byrdcliffe Guild. Through the WBG, Byrdcliffe continues to be home to a year round and seasonal community of artists representing all disciplines in the arts.

Click here to listen to an audio tour by Alf Evers about the Byrdcliffe Art Colony.

Take a tour of the Byrdcliffe Art Colony on, curated by Thomas A. Guiler.

Visit the Hudson Valley Visual Arts Collections Consortium to view Byrdcliffe’s collection online.


Byrdcliffe provides walking tours of the historic arts colony and parts of our permanent collection by appointment. Visit White Pines, the original home of Byrdcliffe’s founders Ralph and Jane Whitehead, where you can see the former ceramics studio used from 1915-1926, preserved in its original state. Visit the Barn and class studios, as well as the historic Theater (availability varies). Access to residences currently used by artists is not possible. Please call to schedule an appointment at least one month in advance of the date you’d like to visit. Tours require a 6-person minimum for tour. Call 845.679.2079.