Recommendations for managing an art residency abroad
An Art Residency Abroad
In April, 2024, I was fortunate to be accepted to an art residency in France. My husband and I spent five weeks in the idyllic mountaintop village of Beaumont de Pertuis in the Luberon valley, in Provence. The program was established a few years ago by a wonderful young couple who found the broken down “maison, “originally built in the 14th century and renovated last in the 19th century. With courage, imagination and flair they set about restoring the building preserving architectural elements such as original wooden beams, stone walls, and tile work. We had a small but adequate one bedroom apartment with a tiny kitchenette, a bathroom built under the eaves with a window looking out onto the next door tiled roof of the church, and a large terrace overlooking the sweep of the valley. The church bell tower was adjacent to our terrace, so we had the added pleasure, (no doubt a trial to some) of bells chiming every hour from 7 am until 10 pm.
There were six apartments in the building, a common laundry and music studio and an art studio in a building just a short walk down the hill. Our apartment was on the fourth floor, which I had mistaken for the third floor when I made the booking. In Europe, the American “first floor” is the ground floor, so if it says third floor, it means climbing up four flights of steep, curving stairs. Of course, there were no elevators, and we were lucky to have railings in the stairwell. It was quite a challenge, but the views were worth it. There were always other artists, sometimes with their partners, in the building, and at any time there were between two or five painters in the studio. Other artists included a singer songwriter, a novelist and a chef. The chef prepared a spectacular dinner for the group as her final project, and it was a feast to remember. All the residents plus the caretaker and housekeepers joined in the festivities. We met two other American couples, just a little younger than us (we must have been the oldest residents that had ever attempted this adventure) and spent wonderful evenings together sharing potluck dinners and lots of wine from local vineyards.
Before I left, I had contacted a young woman from California who had spent some time at the Maison, and as she was also an abstract painter who liked working large, she was able to give me some good advice. I took unstretched, primed canvas, which I had cut to standard sizes at Jerry’s Artarama in Raleigh,. We rolled this up and carried it in a 44-inch-long nylon sports bag which we found on Amazon for less than $20. Since my husband and I travel light, with only one roll-on each, we checked the sports bag at no additional charge. It held up very well, and although I fully anticipated it getting lost, it showed up at our destination city (Amsterdam) and showed up with no problems when we returned to the States, coming through Immigration at JFK in New York. I planned to buy all my paints and mediums in France, to avoid issues with customs regarding paint. Although the flight restrictions apply to oil paints and not water based or polymer paints like acrylics, I had heard of difficulties getting paints of any type through customs. Fortunately, our nearest large city to Beaumont de Pertuis was Aix en Provence, a university town which had two full-service art supply stores. It was forty-five minutes away, and as it is the birthplace and home of Cezanne, and the inspiration for many other luminaries, we were happy to spend some time there. I found Liquitex, Amsterdam and Pebeo brands all well priced. However, the mediums that I like to use, like glazing medium, extender and matte medium were outrageously expensive and I did without. I had packed all my brushes and other tools into the corners of the sports bag, so I was set for those.
All good so far, one may think, but learning to work in the studio provided was more of a challenge than I anticipated. My email colleague had said that she taped her canvases to the wall with gaffer tape, and she also worked on the floor (not an option for me since I am no longer 25 years old.) I hang my stretched canvases on nails on the wall at home, and that gives me a lot of flexibility. However, I found that the walls were covered in heavy stucco, so the painting surface of my canvas was horribly lumpy. I could not draw straight lines (which not everyone uses but I often incorporate lines into my work.) After struggling for several days, I decided to try to find a large Masonite board to prop on an easel (there were several easels) and then tape my unstretched canvas to that. We drove to a small nearby town, where there were supermarkets and hardware stores, and proceeded to try to find a hardware store. Looking it up on Google maps proved fruitless as we found ourselves at several huge wholesale warehouses instead of a hardware store. Finally, I found an English-speaking person in one shop who told me to look for a “bricolage,” the French term for a “Home Depot” type of DIY place.
Despite my lack of French and the local lack of English, Google Translate helped and I was able to get a nice board cut to about 48 by 48. However, I wanted to also buy some smaller offcuts to use if I ran out of canvas. I thought it best to get standard sizes cut, that I could easily frame in readymade frames on my return, but of course I had to translate the inches to centimeters and became flustered doing the math on my phone! I ended up with odd sizes, just a half inch or so off the standard, but enough that I had to finally get custom frames made here. So, my advice is, make sure you have your sizes lined up in centimeters on your phone so that you don’t have to figure it out on the fly, should you be in a shop trying to find the metric equivalents. Of course, all ready -made stretched canvas and boards in France are standard to centimeters and not to inches, so if you buy them there you will not be able to use readymade frames at home.
Because I had run out of canvas towards the end, I used my offcut boards and ended up making some loose mixed media pieces that I liked, literally diving into our trash bin in the studio for bits of paper wrappings, since I was also running out of paint. So, I then had to figure out how to bring those boards home as they could not fit into either my suitcase or the nylon sports bag. After exploring purchasing additional inexpensive suitcases we ended up being able to find a large vinyl art portfolio in a fabulous art store in Copenhagen and we packed my boards in there, securing the portfolio with massive amounts of strapping tape and "fragile”" stickers. We checked it at the airport, and it arrived home unscathed!
Lessons learned:
Weather:
Unless you are in Spain, I suggest that you always take your “puffy coat” or super lightweight nylon quilted coat, no matter the season. We had cold, rain and wind throughout Europe during April, May and June; we only had warm days in Spain. You can always sleep in your coat on the plane or squash it up into your roll-on case.
Packing: Take less than you think you need. I only took two pairs of nylon black pants, (wash in the sink and wear the next day) a pair of jeans, three or four black layering tops, one cashmere sweater I squashed into a corner, a pair of pajamas and undies. I wore my enormous Hoka athletic shoes on the plane and packed one pair of sandals which I ended up not wearing! Cobblestone streets, long walks up and down hills, no fancy outings: no need for any other shoes, perhaps a pair of flip -flops for cold stone floors.
Medicines both prescription and “over-the counter”:
Take all your meds! Take your preferred cold/cough/flu/pain/ meds because many countries in Europe do not dispense these kinds of meds without prescriptions. I found that throughout Europe they offer only natural remedies and aspirin, no NyQuil , Benadryl or anything else we are used to. During our three months abroad we both got colds more than once and it is miserable not to have your go-to meds.
Art supplies:
Do all your calculations in metric before you go, check out sizes of substrates on the internet, and prices on your favorite mediums. You can Google art stores in the area you are going to. Do not rely on Amazon! They did not deliver to our Maison unless someone answered the door and signed for the package. We ended up searching for Amazon depots in neighboring towns for our packages until we realized that it was a waste of time. If you plan to paint on unstretched canvas, get it cut to size with at least 4 inches on each side for stretching onto a frame. Draw your standard sizes that you wish to use, on the canvas with a ruler or T-square before you go. I couldn’t find a long enough ruler or T-square when I was there, let alone any that were not in metric. That ended up costing me quite a bit, as I could not square up my painting area accurately. When I returned, I had the canvases stretched, but because of the problems with metric and measuring, none of the stretched canvases were standard readymade frame sizes.
Groceries:
Since we were in a small village of a thousand people, there was nowhere to shop for supplies in our town, other than a “tabac” for beer and cigarettes and a tiny “minimart” which was open only for a few hours on certain days. We expected to shop for groceries in several adjoining bigger towns which were about twenty minutes away, but in my experience small French businesses close on Saturdays and Sundays and Mondays too, plus in the afternoon between 2-4 pm, and after 7 pm, so make sure you know where and when to buy food.
Language:
Don’t worry about language, everyone in the big cities is happy to speak English. Most European countries teach English in school starting in elementary school. In the small towns many people seemed to not understand or speak English, so make sure you are familiar with Google Translate. And it is only courteous to try using a few simple greetings and pleasantries in the language of your host country.
Conclusion:
Art residencies come in many shapes and sizes. Some have very rigorous application processes and others are less so, perhaps depending on the demand for the spots. There are ones that pay for your board and lodging, some that pay a stipend, ones where you pay for lodgings but are provided with meals, ones where you pay your own way but get to use the studio and meet other artists. Some require a final project or presentation and perhaps documentation. At La Maison de Beaumont, we paid considerably less than the market rate for our apartment, cooked for ourselves and had use of the studios. The cost of travel is not covered in most residencies abroad. All my fellow artists were serious and skillful, and I was grateful to meet them all. Although our host suggested a final project be presented, it was not mandatory and, in my case, my work was too big to be able to show in the little studio. One of my colleagues framed several of her pieces and put together a lovely show with a reception in the studio which was well attended by the local villagers. Her work was all on small boards not bigger than 8x10 inches. She was a well-seasoned traveling painter and instructor, and she knew all the ropes If you can afford to travel abroad to paint, I heartily recommend the experience.
Here is the link to the residency I attended: https://lamaisondebeaumont.com Feel free to reach out to me with questions. You may also follow my travel adventures both at the residency in France and elsewhere in Europe at https://www.jilliangoldbergart.com/blog
Jillian Goldberg Cary, NC 919-637-1675 [email protected]




Apartment buildings on the waterfront in Oslo
New Oslo, called the "Barcode."

Lots of bread, fish and potatoes in various combinations
View from our cabin on the cruise back to Kiel
The "four musicians," the donkey, dog, cat and rooster.





A little flower shop on a tucked away street in Arles. 
Channeling my inner Rococo, imagining Fragonard painting here.

Photograph of Arles at dusk courtesy of Larry

Vew from our terrace; I cannot get enough of rooftops!


View of the town of Saignon from the mountain road above the village
A view of the "calanques" seen from the La Route des Cretes
Last day in the studio at the Art Residency
From the left: the view from our apartment; extraordinary, mystical, bizarre designs filled with symbolism, the interior which is like being in a rain forest with light coming through the jungle canopy.
A view of the side of the Casa Pedrera. The throngs of tourists were not as intense here as at Casa Batlo where it is pandemonium on the sidewalk outside the building.

And one more!



The charming village of Chateauneuf du Pape.
City gates of Manosque
A castle on a hill in the village of La Tour d' Aigues


Our first glimpse of the flower fields












