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Photography, Prints and Drawings Learn More

Small works on paper often do well in an intimate setting such as the Harwood's gallery for Prints, Drawings and Photographs where the Museum presents changing exhibitions from the permanent collection as well as exhibitions of work on loan.

Drawing and printmaking have had a long and distinguished history in the Taos community. The Museum collection includes important examples by some of the earlier artists including Howard Cook, Joseph Imhof, who brought the first lithography press to Taos, Gene Kloss, Nicolai Fechin, and Walter Ufer.

The post World War II period of the Taos Moderns is represented by the works of Tom Benrimo, Andrew Dasburg, Earl Stroh, and Louis Ribak, while drawings and prints by Larry Calcagno, R.C. Ellis, Ken Price, Joe Waldrum, Vija Celmins, Wes Mills, and Bill Gersh document the work of more recent artists.

Artist: George Fischer
Title: Untitled (man's shirt with leaves)
Date: 1970?
Medium: drawing charcoal and pencil on paper
Dimensions: image: 12 x 8 1/4 in. (30.5 x 21 cm) frame: 21 x 17 1/4 in. (53.3 x 43.8 cm)
George Fischer (b. 1956, Chicago)
1970?
George Fischer
Artist: Nicolai Fechin
Title: Untitled (portrait of a girl)
Date: 1930s
Medium: Offset lithograph
Nicolai Fechin (1881-1955)
1930s
Nicolai Fechin
Artist: Joseph Imhof
Title: Vespers - Duran Chapel, Talpa
Date: c. 1930
Medium: print lithograph
Dimensions: Overall: 13 3/4 x 17 5/16 in. (35 x 44 cm)
Joseph Imhof United States (1871 - 1955)
Joseph Imhoff was born in Brooklyn, New York in 1871. His first exposure to art was at age six when his godfather gifted him with a box of watercolors. Upon graduation, his father refused him further education unless he became a priest. Rejecting his father's wishes, he started teaching himself lithography and was hired by Currier & Ives. He eventually earned enough money from this job to buy a bookstore. In 1991 he eventually quit his job and sold the bookstore to pursue a formal art education in Europe. Traveling and painting for four years in Paris, Brussels, Antwerp and Munich he apprenticed with several artists.

But perhaps the most important experience he had in Europe was to meet Buffalo Bill Cody on board the ship and join him in Antwerp to spend time sketching and painting various members of the "Wild West Show". This experience set in place a style of painting for the rest of his life which focused on ethnographic and anthropological data rather than artistic expression. He documented the religious ceremonies of Pueblo Indians in large, rather simplified oils. He also learned new techniques for lithography which had a long-term influence on his artwork.

When he returned to New York, he rented a studio in Flatbush and began to study the Iroquois Indians in New York and Canada. He spent the next ten years painting and improving his lithography, photography and color printing innovations - which financed his early painting career. He also freelanced for Allen and Ginter, painting his Indian Head Series for insertion on cards in boxes of cigarettes.

In 1897 Joseph married Sarah Ann Elizabeth Russell, and they traveled to Europe several times until 1905 when they visited the Southwest for the first time to record the ceremonies of the Pueblo Indians. Joseph and built a studio in Albuquerque in 1906, and spent much time in the next few years traveling around the region.

In 1929 Joseph and Sarah moved to Taos permanently and built their new home facing the sacred mountain behind the Taos Pueblo. Their neighbor for some twenty years, Mabel Dodge Lujan, was known to refer to him as, "The Grand Old Man of the Pueblos". He would ask native models to live in his home for a time before he painted them. He felt he needed to know the person's soul that the eyes revealed in order to paint an accurate likeness. He collected many Indian artifacts and also had the first lithography press in Taos, which he used to make ethnographic prints and teach his techniques of recording the region's history. His series of paintings called Kivas and Corn which he gifted to the University of New Mexico was his most famous work. The Koshare Indian Museum also houses one of the largest collections of his paintings.

Joseph Imhof died in 1955 leaving an important legacy of the American Southwest. His wife Sarah in later years said of her husband, "...a gentle, dignified man who loathed the publicity and the limelight that other artists seemed to seek; he avoided publicity at all times..."

http://www.josephimhoffpaintings.com/
c. 1930
Joseph Imhof
Artist: Robert C. Ellis
Title: Volcano #5
Date: c.1975
Medium: Graphite and colored pencil on paper
Dimensions: Overall: 22 3/8 x 30 1/8 in. (56.8 x 76.5 cm)
Robert C. Ellis United States (1923-1979)
Born in Jackson, Texas, R.C. Ellis first began studying art through The University of New Mexico, Taos Summer Field School in 1942, where he met Andrew Dasburg whom he admired greatly. Ellis would have moved to Taos earlier if it had not been for WWII, and his service through the Coast Guard. After the war he returned to studying art at the New School of Social Research in New York in 1949, where he studied Abraham Rattner and Adja Yunkers (later one of the Albuquerque moderns). He would return to New Mexico the following year to study at the University of New Mexico and eventually obtaining his BFA in 1950. Most importantly to Ellis, between 1947 and 1953, he lived intermittently with the Tarahumara Indians of Mexico’s Sierra Madre whose art he greatly admired. His ties to Mexico, which were as strong as those he felt for the Southwest, became even stronger with his 1957 marriage to Rosamaria Ramirez de Alba, a Mexican citizen. He was the only artist among the Taos Moderns to pursue his career in two countries showing his work on both sides of the border. He returned to Taos in 1961 as a resident of the Wurlitzer Foundation and again briefly in 1964, before finally settling in Taos in 1965.
His paintings from the 1940’s onward moved through Cubist and Abstract Expressionist influenced periods. In the 1950’s his interest in the nature of luminosity led him to try for a kind of stained glass effect. In later works he mosved to a more minimalist – type artwork in both his painting and print making.

His first solo exhibition was at Gump’s Gallery in San Francisco California in 1942 and from there is work was exhibited in Washington D.C., Tucson Arizona, Santa Fe NM, Albuquerque NM, Linsborg KS, Amarillo TX, The Panhandle Museum in Carson County TX, The Ellen Noel Art Museum of the Permain Basin, Odessa TX, and at the Harwood Museum of Art in Taos. He exhibited internationally in several galleried in Mexico, as well as at the Museo Nacional de Arte Moderno in Mexico City in 1964.

Ellis applied what he saw in the landscape, interpreting the lessons garnedred from his observations to create his compositions. Particularly by the time of his late work, he captured in paint, ink and other mediums the paradox of the desert, a surface that at first appears simple, but only because it’s true complexity is so well integrated into a flow of light and form. R.C. Ellis died in Albuquerque New Mexico in 1979.

Artist Biography.2015.203 Fine Art http://www.203fineart.com/Robert_C_Ellis.html
c.1975
Robert C. Ellis
Artist: Earl Stroh
Title: Vulcan's Forge
Date: 1995
Medium: drawing pastel/paper
Dimensions: Overall: 29 1/2 x 41 9/16 in. (75 x 105.5 cm) Framed: 41 15/16 x 54 1/8 x 1 in. (106.5 x 137.5 x 2.5 cm)
Earl Stroh United States (United States, 1924 - 2005)
Buffalo, NY
1995
Earl Stroh
Artist: David Michael Kennedy
Title: White Sands, NM
Date: 1987
Medium: Palladium print photo
Dimensions: Overall: 16 1/2 in. x 16 1/2 in.
David Michael Kennedy
1987
David Michael Kennedy
Artist: David Michael Kennedy
Title: White Trees
Date: 1988
Medium: photo palladium print
Dimensions: Overall: 4 in. x 5 in.
David Michael Kennedy
1988
David Michael Kennedy
Artist: Andrew Dasburg
Title: Winter Plains
Date: 1959
Medium: drawing pastel
Dimensions: Overall: 16 15/16 x 21 5/8 in. (43 x 55 cm)
Andrew Dasburg (1887-1979)
1959
Andrew Dasburg
Artist: Doel Reed
Title: Winter Sun
Date: 1967
Medium: Aquatint etching
Dimensions: Overall: 14 15/16 x 18 5/16 in. (38 x 46.5 cm)
Doel Reed United States (United States, 1894 - 1985)
Remembered as an important member of the Taos art community after 1960, Doel Reed achieved an international reputation as a landscape artist and printmaker, and as a master of aquatint. His paintings and aquatints were earth-toned and geometric in style and featured architectural forms of the New Mexico landscape.

He was born in Logansport, Indiana, and from 1924 until 1959, chaired the art department at Oklahoma State University. Then he moved to Talpa, near Taos, New Mexico where he and his family had been spending many summers and he had done and he did much sketching in Arizona and New Mexico, especially the countryside and pueblos near Talpa. His method of working was to sketch in the field and then complete the paintings in his studio.

He first pursued architecture but enjoying drawing, enrolled at the Art Academy of Cincinnati from 1916 to 1917 and 1919 to 1920. He served in World War I and was gassed and temporarily blinded. After months in base hospitals in France, he returned to the Art Academy and became interested in graphics. However, in those days, there were few schools specializing in that subject, so he was largely self taught. In 1952, he was elected to the National Academy of Design.

He wrote a book, Doel Reed Makes an Aquatint, published 1965, and known for oils and caseins, he earned much fame from his aquatints.

An article titled 'Doel Reed Haunted by Nature's Moods', by M.J. Van Deventer, was in Southwest Art, August 1985 (p 58)


Source:

Dean Porter and Teresa Ebie, Taos Artists and Their Patrons
Peggy and Harold Samuels, The Illustrated Biographical Encylopedia of Artists of the American West

His historic Taos studio has been created as the Doel Reed Center
http://drca.okstate.edu/doel-reed-bio
1967
Doel Reed
Artist: Andrew Dasburg
Title: Woman Plastering
Date: 1935
Medium: Pen and ink
Dimensions: Overall: 13 9/16 x 8 11/16 in. (34.4 x 22 cm) frame: 22 x 16 3/4 in. (55.9 x 42.5 cm)
Andrew Dasburg (1887-1979)
1935
Andrew Dasburg
Artist: Andrew Dasburg
Title: Woodland Fragments
Date: 1957
Medium: drawing sepia ink on paper
Dimensions: Overall: 17 5/16 x 22 1/16 in. (44 x 56 cm) Framed: 1 x 1 3/16 in. (2.5 x 3 cm)
Andrew Dasburg (1887-1979)
1957
Andrew Dasburg