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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
Portrait of The Honorable Dorothy Brett1956Robert D. Ray
Robert D. Ray (1924 - 2002)
Dates in Taos: 1954
painting Overall: 60 1/4 x 31 7/8 in. (153 x 81 cm) frame: 61 x 32 1/2 in. (154.9 x 82.6 cm)
Rio Grande River, New Mexico1919Marsden Hartley
Marsden Hartley (1877-1943)
drawing support: 17 1/2 x 27 3/4 in. (44.5 x 70.5 cm) frame: 25 3/16 x 35 1/2 x 1 3/4 in. (64 x 90.2 x 4.5 cm)
Struggle1951Ted Egri
Ted Egri (1913-2010)
sculpture
Taos Canyon1930John Marin
John Marin (1870-1953)
painting 15 9/16 x 20 1/2 in. (39.5 x 52 cm) Framed: 21 3/4 × 27 × 1 3/8 in. (55.2 × 68.6 × 3.5 cm)
The Grotto1960'sLouis Ribak
Louis Ribak (1903-1979)
painting Overall: 16 x 12 in. (40.6 x 30.5 cm)
Three Indian Women (Three Witches)1949Dorothy Eugenie Brett
Dorothy Eugenie Brett Great Britain (1883 - 1977)
Dorothy Eugénie Brett was a British painter, remembered as much for her social life as for her art. Born into an aristocratic British family, she lived a sheltered early life. During her student years at the Slade School of Art, she associated with the Bloomsbury group. Among the people she met was novelist D. H. Lawrence, and it was at his invitation that she moved to Taos, New Mexico in 1924. She remained there for the rest of her life, becoming an American citizen in 1938. http://en.wikipedia.org/wiki/Dorothy_Brett

Her work can be found in the Smithsonian American Art Museum in Washington D.C., in the Millicent Rogers Museum and the Harwood Museum of Art, both in Taos, at the New Mexico Museum of Art, Santa Fe, the Roswell Museum and Art Center, Roswell, New Mexico and in many private collections. http://en.wikipedia.org/wiki/Dorothy_Brett

painting Overall: 24 x 11 15/16 in. (60.9 x 30.3 cm)
Twining (formerly Taos Mountain)c. 1944Beatrice Mandelman
Beatrice Mandelman (1912 - 1998)
Born on December 31, 1912 in Newark, New Jersey, from an early age Beatrice Mandelman was determined to be an artist. At age 12, she began taking classes at the Newark School of Fine and Industrial Art. In the 1930s, she attended Rutgers University, the Newark School of Fine and Industrial Art and the Art Students League in New York City.

http://www.mandelman-ribak.org/beatrice_mandelman/biography.php
painting 15 x 20 in. (38.1 x 50.8 cm) Framed: 24 5/8 × 35 × 1 1/2 in. (62.5 × 88.9 × 3.8 cm)
Untitledc.1952Edward Corbett
Edward Corbett (1919-1971)
painting Overall: 34 x 27 in. (86.3 x 68.6 cm) frame: 45 1/2 x 35 1/2 in. (115.6 x 90.2 cm)
Untitledc.1963Edward Corbett
Edward Corbett (1919-1971)
painting Overall: 60 1/16 x 47 15/16 in. (152.6 x 121.7 cm) Framed: 61 x 48 15/16 x 1 9/16 in. (154.9 x 124.3 x 3.9 cm)
Untitled (head)1963Edward Corbett
Edward Corbett (1919-1971)
painting sight: 17 3/8 x 13 3/8 in. (44.1 x 33.9 cm) frame: 19 x 15 x 1 1/2 in. (48.3 x 38.1 x 3.8 cm)