John James Cunningham

In 1930, during the Great Depression, Cunningham and his wife Patricia returned from Paris to New York City. He worked as a decorator for Gimbels department store.[3] In 1931, Cunningham took up a role as a barker at Coney Island in Brooklyn, New York, where he engaged in painting for approximately three months. He presented his artwork from Coney Island in a solo exhibition at the Art Alliance in New York.[4]

The same year, Cunningham painted an Arabian Night panel for the Edgewood Inn at Livingston Manor, New York. Subsequently, he also joined the Central Executive Board of the American Artists' Congress in New York City.[3]

In 1935, he painted a fresco on a Mayan temple for Macy's in New York City.[3] In 1953, Cunningham engaged in designing textiles for the Seneca Textile Company based in New York.[3]

Between 1931 and 1933, Cunningham served as the resident artist and head of the Fine Arts Department at Cranbrook School for Boys located in Bloomfield Hills, Michigan. He subsequently assumed the role of heading the Department of Fine and Industrial Art at the Cranbrook School and took on the responsibilities of directing and establishing the inaugural summer session.[5][6]

In 1933, he finished the first-hand set tessera glass mosaic (imitation of a stained-glass window) at the great hall at the Cranbrook Educational Community. During the Christmas pageant at Cranbrook School, it was positioned within the dining hall and illuminated using floodlights from behind.[6]

In 1935, Cunningham took on the role of visiting professor and head of the summer session in Art at Mills College in Oakland, California. Subsequently, he was appointed as the Director of the Fine Arts Department.[3] His wife, Patricia served on the faculty of Mills College.[5]

In 1936, he accepted a position as the chief designer and head of the Department of Exhibitions at the United States Resettlement Administration in Washington D.C., a role that later transitioned into the Farm Security Administration.

Cunningham returned to Carmel-by-the-Sea, California in 1937, first staying in a house in Pacific Grove. He became a member of the Carmel Art Association in 1938 and served seven terms as a Board Member and assuming the presidency in both 1965 and 1985.

From 1938 to 1939, he accepted a job of staff artist for the State of California Governor's Commission at the University of California for the Golden Gate International Exposition on Treasure Island in San Francisco. The family relocated to Berkeley to fulfill their responsibilities at the University.[2][3]

In 1940, Cunningham and his family moved to Carmel Point at 26341 Rio Way in a house built by Dr. Lane. In 1946, he constructed a studio addition onto his residence and began conducting classes there.

After the Attack on Pearl Harbor, Cunningham enlisted in the Merchant Marine, during World War II, spanning from 1942 to 1945, serving as an able seaman initially and later attaining the rank of Chief Mate by the conclusion of the war years. He did sketches of seamen during the war that were showcased in exhibitions at the Architectural League in New York City and as part of a traveling show across the county. He was granted an Honorable Discharge from the United States Coast Guard on August 15, 1945.[3]

In July 1964, Cunningham and his family moved to Carmel Valley, where he settled near the Carmel River and constructed an art studio.[3]

In 1970, Cunningham's artwork titled Point Lobos, Carmel Bay was displayed as part of the Selections from the Nathan Cummings Collection exhibition at the National Gallery of Art in Washington D.C.

Between 1972 and 1973, Cunningham embarked on a year-long painting journey across Europe, exploring various destinations in a van accompanied by his wife and their son, Blair.[3]

In 1986, Cunningham led a painting workshop during the inauguration of the Cogley Art Center in Klamath Falls, Oregon. Additionally, he held a solo exhibition of his paintings at their gallery.

In September 1992, he organized an auction and benefit for the Blind Children's Center of Los Angeles, featuring his paintings, at Graystone Mission in Beverly Hills, California.[3]

Established in 1937, painters Armin Hansen and his associates, Kit and Paul Whitman, laid the foundation for an art institution in Carmel. Today, it operates as a nonprofit educational foundation overseen by a Board of Trustees.[7]

Cunningham began at the Institute when he helped teach a painting class for Hansen when he fell ill. In 1940, Hansen and the Whitman transferred ownership of the institute to Cunningham and his wife. His network of connections attracted educators to the institute to help teach students.[8][3][9]

In 1938 Cunningham assumed the position of Director for the First Summer School at the Carmel Art Institute. In 1939, he took on the role of Director and owner of the Carmel Art Institute. One of his many solo exhibitions took place in 1932 at the De Young Museum.[5]

In 1947, the Carmel Art Institute hosted its art activities initially at his studio on Rio Way on Carmel Point, then moved to the Serra School, then to a studio at Fisherman's Wharf, and subsequently relocated to the Seven Arts Building. In 1954, the Carmel Art Institute was relocated to the Court of the Golden Bough at Monte Verdi and Ocean Avenue. In 1976, the Carmel Art Institute was relocated to the Flanders Mansion, where the Institute continued to operate until Cunningham's retirement in 1988.[4]

Throughout its existence, the Institute welcomed numerous renowned artists, including Fernand Léger and Alexander Archipenko, who served as guest faculty. A substantial portion of Carmel's art community received education there, with many former and current members of the Carmel Art Association being alumni of the Institute.[4] Artist Jane Reece had one-person shows at the Carmel Art Institute and the Dayton Art Institute in 1947.[10]

Cunningham’s commitment to the institute remained steadfast until 1990, when he retired and earned the title of President Emeritus.[2] After his retirement the institute's activities ceased, leaving behind a significant legacy within Carmel's artistic milieu over the span of several decades.[4]

In 1990, Cunningham transferred the responsibility of the Carmel Art Institute to the Carmel Art Association. Subsequently, he stopped his teaching duties and dedicated his time to painting within his studio in Carmel Valley.[3]