Jeanne D'Orge

In 1920, accompanied by her three children and Burton, her recently retired husband, she made her way to the town of Carmel-by-the-Sea, California, then a small, artistic community.[7]

D'Orge and Burton found themselves drawn to the Forest Theater, where they, along with their children, Virginia, and Christine Burton, actively participated in various theatrical productions. During their time there, they unexpectedly crossed paths with a former student of Burton's, the inventive Carl William Cherry (1900-1947), who was overseeing the lighting arrangements. Little did they know that this chance meeting would spark something between D'Orge and Cherry, despite the substantial age difference and the fact that he was not conventionally attractive. Chery's appearance was described as gangly and elf-like, while D'Orge herself was of a plumper and matronly disposition.[8] The Carmel community was scandalized by her desertion of her husband and children. Her parents divorced in 1925, and her father returned to Boston.[8][4]

On March 2, 1922, at the Little Theater committee's Arts and Crafts Hall, D'Orge wrote a one-act tragedy, Crazy Anne, with light effects and stage pictures.[9]

In December 1922, she wrote an article called Christmas Masque and Ball Tonight at Arts & Crafts Hall that talked about Ira Remsen and his Christmas play Shepherd's Bridge, at the Carmel Arts and Crafts Hall, which was produced by John Hillard.[10][9]

In the November 24, 1923, issue of Scribner's Magazine, a set of drawings featuring the ancient trees at Point Lobos took center stage. These drawings arc done by painter Cornelis Botke. Alongside the drawings is a poem by D’Orge. Through this artistic collaboration, the spirit of these ancient trees is conveyed.[11]

In December 1928, she wrote the book Lobos, published by Seven Arts Press. The black and white cover was designed by Cherry. A review published in the Carmelite said: "One feels in reading these poems that Lobos has been translated perfectly into the most elusive language, Poetry."[12]

On March 30, 1931, she married Carl Cherry in San Benito, California. Upon moving in with Cherry, D'Orge adopted the name Jeanne D'Orge permanently, combining a tribute to her heroine Joan of Arc and the Orge River in France. From that point forward, she embraced this new name as her own.[4] Chery, a prosperous individual, encouraged her to pursue painting, and she embraced the craft with the same enthusiasm that had characterized her poetry.[13] In 1936, he crafted the blind rivet, a self-sealing fastener that could be effortlessly installed by a single person.[14] This invention revolutionized aircraft manufacture during World War II, earning Chery a considerable fortune and recognition for his contributions.[8] The patent was later acquired by the Textron, which continues to manufacture the Cherry rivet to this day.[4]

In 1957, D'Orge's paintings were displayed at the Santa Barbara Museum of Art. Her paintings were an embodiment of creativity and resourcefulness. Facing the challenge of costly canvas, she turned to Dupont window shade material and various remnants from Cherry's workshop, including masonite, glassine, and aluminum. Embracing unconventional techniques, she experimented with layering machine oil as a base, onto which she directly applied paint from the tube. Her artistic process involved tools, such as brushes, whiskbrooms, forks, fingers, and combs, allowing her to manipulate the paint and create a unique texture and form. The resulting artworks exuded a distinctive soft outline, at times evoking enigmatic ritual processions of somber-hued hooded figures. This unparalleled approach to painting showcased her ingenuity and artistic prowess, leaving an indelible mark on the world of art.[15][8]

In January 1962, encouraged by her peers, the 83-year-old artist was eventually persuaded to host a one-man exhibition at San Francisco's De Young Museum located in Golden Gate Park, San Francisco, which displayed forty-seven of her paintings.[16][3] Later, in 1977, a retrospective show of her work was organized in Santa Barbara.[8]

Two Queen Anne-style cottages built by Delos E. Goldsmith. The one on the left was built for Augusta Robertson (later the Carl Cherry Center for the Arts) and the one on the right was for Abbie Jane Hunter.

Real estate developer Abbie Jane Hunter's uncle, carpenter Delos Edward Goldsmith (1828-1923) from Ohio, moved to Carmel in late 1888.[17] Between 1892 and 1894, Goldsmith worked with Hunter to build two identical historic Queen Anne-style cottages, designed by contractor Douglas Knox Fraiser.[18] The first house is on the northeast corner of Guadalupe Street and 4th Avenue.[7] It was the home for Hunter and her son, now known as the Abbie Jane Hunter House.[19] The second house, on the northwest corner of Guadalupe and 4th Avenue was built for Goldsmith‘s wife's sister's daughter, Augusta Robertson. They were the first houses in the area next to what was known as the Paradise Park.[7][20][13][21]

In 1937, As a wedding gift, Cherry's mother, Mrs. C.W. Thatcher sold her son the former Augusta Robertson House for one dollar.[7][13]

Over the course of the next decade, the house underwent extensive expansion and modification to cater to the working requirements of both the Cherry and D'Orge. Cherry's inventive pursuits led to the establishment of a machine workshop, now known as Cherry Hall, where he could bring his innovative ideas to life.[13]

After Chery's passing on April 15, 1947 in Carmel,[22] D'Orge experienced profound grief.

In June 1948, D'Orge established the Carl Cherry Foundation, a non-profit philanthropic organization. Its primary objectives were to run an art gallery, provide an experimental laboratory for scientists and inventors in Carmel, and offer assistance to "artists, authors, playwrights, and composers."[23]

Today this is the home of the Carl Cherry Center for the Arts in honor of her late husband serving as a testament to their enduring love and his significant contributions to the field of invention. Continuing Cherry's legacy, D'Orge's mission was to "advance the culture of America by supporting experimental fine arts, sciences, and education." The Center became a nurturing ground for emerging talents, offering mentorship and support to aspiring artists and writers. Through scholarships and grants, the center enabled individuals from diverse backgrounds to pursue their creative dreams, fostering inclusivity and diversity within the arts community.[8]

D'Orge remained committed to managing the Carl Cherry Foundation, dedicating herself to funding an array of events. These included concerts, lectures, plays, puppet shows, dance recitals, and seminars, with a noteworthy feature being that almost all of them were offered free of charge. Despite being free, the events showcased world-class lecturers and performers. Carmel's streets would often see her presence, clad in ankle-length Chinese robes, paint-stained tennis shoes, and her signature pink hat.[8]

On June 15, 1951, the Carl Cherry Foundation invited 12-year-old Leon Panetta (former Secretary of Defense) to give a piano concert at the Sunset Center. The Carmel Pine Cone said: "It will be interesting to follow the progress of this young man. He certainly has great possibilities."[24]

In 1952, D'Orge expanded the main building block, adding classroom, gallery, and reading room spaces. Toward the west, she attached studio and meditation areas in 1953. These additions allowed the Carl Cherry Foundation to flourish, providing a space for artistic expression and community engagement. It was at this residence that D'Orge began to nurture her passion for painting. To accommodate D'Orge's artistic pursuits, carpenters were employed to convert the second story into a spacious studio, adding skylights to flood the space with natural light.[3][25][13]

D'Orge, a self-taught artist, expressed her desire to evoke the imaginative process in her audience. Instead of selling her frequently untitled paintings, she chose to showcase them at the Cherry Foundation, exhibiting only a few at a time, while she recited her poetry. Despite limited public exposure, her paintings consistently exhibited high quality. This led to exhibitions at prestigious venues like the Park Lane Gallery in New York.[8] D'Orge's artistic creations varied in style, with some resembling Chinese landscapes, while others took on a more surreal and abstract form.[4]

In 1992, the Carl Cherry Foundation changed its name to the Carl Cherry Center for the Arts.

In the archives, you can find her papers, comprising a permanent art collection of twelve hundred works from her portfolio, along with some memorabilia. Additionally, the collection houses a miscellaneous assortment of Burton family artifacts.[8][4]

As time passed, D'Orge eventually transitioned to a studio in Carmel Valley, where she persisted in her painting and writing pursuits until her passing in 1964.[13]

Her primary focus centered around the Tantamount Theater. Her charm graced the Green Room receptions and opening nights of the theater's productions, endearing herself to fellow artists and audience members alike.[3] In 1960, D'Orge provided support to Francois Martin and John Ralph Geddis in establishing their puppet theater in Carmel Valley. She constructed a one-room studio adjacent to their Tantamount Theater, and in return, Martin and Geddis looked after her.[8]