Sign on
gPowered byeMuseum

Taos Moderns Learn More

The 1940s was an important transition period for the Taos art community. A group of modernist artists arrived who would set a new artistic course for a generation. Following World War II, Taos became an important crossroads in contemporary American art, a place where the influences of European and American modernism came together. Artists from New York and San Francisco, the cradles of post-war abstract painting, found in Taos a conducive place to work devoid of the distractions of the big cities. Many of the modernist artists arrived in Taos with little if any knowledge of the earlier artists, as if inexplicably drawn to the Town's inherently creative atmosphere. Many came to study under the G.I. bill.

Joining Andrew Dasburg as mentor to these new artists in 1939 was Thomas Benrimo, another early American modernist. New York artist Louis Ribak arrived in Taos in 1944 with his wife, painter Beatrice Mandelman, and emerged as a leader of the younger generation. Agnes Martin, now an internationally acclaimed artist came to Taos a few years later as a student with the University of New Mexico's summer Field School of Art. In the early 1950s, Clay Spohn, an abstract expressionist, and Edward Corbett, an artist with a growing reputation as a modernist, arrived from San Francisco. Their colleague, Richard Diebenkorn, although not a Taos resident, showed at the Town's premier art gallery, Galeria Escondida, as well as the University of New Mexico in Albuquerque where he received a Masters Degree in Art in 1951. In the same way that the Taos Art Colony in earlier decades attracted other artists to the area, these new artists were visited by their friends and associates, including such major figures as Mark Rothko, Ad Reinhardt, Clyfford Still and Morris Graves.

The influx of dozens of artists by the 1950s had established Taos as one of the centers of modernist artistic activity in the United States. In the middle part of the decade, a number of them began showing together in art galleries and museums and were collectively known as the Taos Moderns. Although they never created a formal group such as the Taos Society of Artists had done, they changed the artistic direction of the community.

Their paintings were either abstract, using subject matter, or non-objective compositions of pure form. The stark New Mexico landscape brightened their palettes just as it had that of earlier artists. Cultural influences continued to be important as well. The timelessness they perceived in Pueblo Indian culture and the deep connection to the land they noted in the everyday life of both Indians and Hispanics influence experimentation and innovation in their own art.

If there was any one guiding philosophy during this period, it was a commitment by artists to seek 'the new' in their visual imagery. Many of them were not content with depicting the surface beauty of the landscape or the figurative portraits done by earlier artists. Instead, they wanted to capture the underlying structure of a subject to reveal its true meaning.

Sorted AscendingTitleDateArtistClassificationDimensions
Elements of Spring: The Rains1952Clay Spohn
Clay Spohn (1898-1977)
painting Overall: 27 15/16 x 32 5/16 in. (71 x 82 cm)
Grasses1950B.J.O. Nordfeldt
B.J.O. Nordfeldt (1878-1955)
painting Overall: 48 x 64 1/2 in. (121.9 x 163.8 cm) Framed: 56 5/8 x 42 3/4 in. (143.8 x 108.6 cm)
Harwood House1918Gustave Baumann (1881-1971)
Gustave Baumann (1881-1971)
Gustave Baumann was born in Magdeburg, Germany, in 1881. Ten years later, along with his family, Baumann relocated to the United States, eventually settling in Chicago. Displaying a natural aptitude for the arts, he worked as a commercial engraver while putting himself through night school at the Art Institute of Chicago - before returning to Germany in 1904 to study wood block printing at the Kunstgewerbeschule ("School of Arts and Crafts") in Munich. Upon his return to the United States, Baumann received international acclaim when one of his color woodcuts won the gold medal at the Pan-Pacific International Exhibition (1915) in San Francisco. Three years later, in 1918, Baumann settled in Santa Fe, quickly emerging as a leading artistic figure of the American Southwest. He is generally credited with the revival of color wood block printing in the 20th century, and was hand-picked as Area Coordinator for the Works Progress Administration's Public Works of Art Project in the 1930's. http://www.gustavebaumann.net/Gustave_Baumann_Biography_Page.htm
drawing Overall: 10 5/8 x 9 13/16 in. (27 x 25 cm)
Media File Hawthorn1963Ronald Davis
Ronald Davis (b. 1937)
painting
Impressions of a Landscape1950sClay Spohn
Clay Spohn (1898-1977)
painting Overall: 21 15/16 x 27 7/8 in. (55.7 x 70.8 cm)
Mannequin1956Thomas Benrimo (1887-1958)
Thomas Benrimo (1887-1958)
Born and coming from a noted show business family, Thomas Daniel "Duncan" Benrimo showed early talent as an artist-illustrator. In April 1906, The San Francisco Earthquake destroyed most of his early art work and displaced most of his family. Arriving in New York, he was joined by his Elder Brother, Actor-Performer, Joseph Harry Benrimo, and worked at stage-set desiging. Later, he settled back as an artist-illustrator. As an Illustrator for Fortune, Scribner's and Harper's, Benrimer also taught at Pratt Institute. After relocating to Taos, Benrimer was included in group and solo exhibitions in New York and San Francisco. His work is held by museums including the Denver Art Museum, Whitney Museum of American Art and Fort Worth Art Museum. www.geni.com/people/Tom-Benrimo/6000000025227453583
painting Framed: 42 5/8 × 42 1/4 × 1 1/4 in. (108.3 × 107.3 × 3.2 cm) image: 35 3/4 × 35 3/4 in. (90.8 × 90.8 cm)
Mountain Moods1954Ted Egri
Ted Egri (1913-2010)
painting Overall: 23 11/16 x 30 1/8 in. (60.1 x 76.5 cm) frame: 36 x 30 in. (91.4 x 76.2 cm)
Mystery of Symbols - or Secrets of Isis1952Clay Spohn
Clay Spohn (1898-1977)
painting Overall: 26 3/16 x 31 7/8 in. (66.5 x 81 cm)
Our Studio - Harwood1927-1928Howard Cook
Howard Cook United States (United States, 1901 - 1980)
drawing Overall: 8 15/16 x 12 9/16 in. (22.7 x 31.9 cm) frame: 14 1/4 x 18 1/4 in. (36.2 x 46.4 cm)
Portrait of Bea Mandelmanc. 1944Louis Ribak
Louis Ribak (1903-1979)
painting Overall: 29 x 24 1/2 in. (73.7 x 62.2 cm)