destination for artists, drawn by the landscape. During their stay, Field "bought a row of shacks that he started renting out cheap to artists." In 1911, Field and Laurent built a studio there and co-founded the Ogunquit Summer School of Graphic Arts. Field taught drawing and painting until his death, and Laurent taught sculpture and wood carving there for the next 50 years. There was, however, another art school in Ogunquit. Founded by Field's former teacher, Charles Woodbury's Ogunquit Summer School of Drawing and Painting was heavily influenced by the "regional impressionist" style of painting also known as the Boston School. One of the school's more famous students was Edward Hopper. Field and Laurent were, conversely, committed modernists, and appealed to more experimental students and colleagues, such as Marsden Hartley, Yasuo Kuniyoshi, Niles Spencer, gallery owner Edith Gregor Halpert and curator Holger Cahill, among others. Together, the two schools transformed a town of fewer than 1,000 into Maine's largest art colony, an achievement that resulted, in 1953, in the opening of the Ogunquit Museum of American Art. Public collections Public collections across the United States hold Laurent's work, including the Art Institute of Chicago, the Metropolitan Museum of Art, MOMA, the Whitney Museum of American Art, the National Gallery of Art, the Smithsonian Art Museum, the Brooklyn Museum, the Hirshhorn Museum and Sculpture Garden, the Addison Gallery, Indiana University and the Terra Foundation for Art, among others. Awards and honors In 1938, Laurent won the second of two Logan Prizes at the Art Institute of Chicago's annual American art exhibition. In 1945, he won the Audubon Sculpture Award in New York, several first prizes in Hoosier salons, and in exhibits at the John Herron Museum, Indianapolis. He received high distinction in 1954 when was named sculptor in residence at the American Academy in Rome for a year. Laurent was also one of 23 American sculptors whose works were selected for the controversial American National Exhibition in Moscow, in 1959. The exhibit, which included such celebrated artists as sculptors Ibram Lassaw and Isamu Noguchi and painters Hyman Bloom, Jackson Pollock and Edward Hopper was coordinated by the United States Information Agency (USIA), and liberal critics subsequently characterized it as a Cold War American "propaganda strategy." Prior to the exhibition, the House Un-American Activities Committee (HUAC) threatened to remove many of the artists who had been accused of links to communist activities.