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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: Ronald Davis
Title: Untitled
Date: 1980
Medium: Etching
Dimensions: Overall: 22 7/16 x 15 3/16 in. (57 x 38.5 cm)
Ronald Davis (b. 1937)
1980
Ronald Davis
Artist: Edward Corbett
Title: Untitled
Date: 1952
Medium: Gouache, charcoal, and pastel
Dimensions: Overall: 18 1/8 x 11 15/16 in. (46 x 30.4 cm)
Edward Corbett (1919-1971)
EDWARD CORBETT (1919-1971), moved to Taos in 1951.

I intend my work as poetry. 56

—Edward Corbett, 1952

Edward Corbett believed, with the rest of the abstract expressionists, that the value of art is intrinsic. He reflected on his own intentions as a painter and an intellectual at grips with ideas that dominated his world at the time:

I knew that I had to find a way of painting that I could do as well as [the Europeans] did their Surrealism and Cubism … and I had to literally work towards a discovery. I didn’t know what I was working towards. It was a mystery. The end was there but it was imagined. The end. I could imagine without knowing what it looked like in the painting … 57

By the time he was included in the Museum of Modern Art’s 1952 “15 Americans” exhibit, Corbett had found the imaginative track he would continue to follow. The process began with his childhood in the Southwest and continued through his time as a student, and later a teacher, at the California School of Fine Arts, San Francisco. 58 He made his first visit to Taos as early as 1947 and relocated there
in 1951. 59

Corbett completed only four or five paintings during his 20 years in Taos; the balance of his works were drawings in charcoal, chalk, pastel, pencil, and occasionally, casein. He started painting by placing colors on the canvas and then gradually eliminating or lessening them by covering them with white. 60 The canvases are filled with almost imperceptible detail. These paintings provided the structural and thematic basis for his later work.


According to Corbett, “Abstract appearances are seen, the matter is felt, the experience is emotionalized, and through continual experience the symbol is formed.” 61 Abstract appearances—suggested by the land and by architectural forms that grow out of nature—led him to a symbology of the land, not landscape pictures. Corbett, however, was equivocal about the natural environment as a catalyst for art. He wrote, “I admit to being influenced by not only nature out-of-doors, but nature within,” and concluded, “If sources of nature exist, I trust they do not influence the painting.” 62 Perhaps this denial of the influence of natural forms served as a defense measure: fully abstract work could have lost some of its magic if described with words such as “this is a cliff.”


Whatever they were based on, Corbett’s images suggest the fullness of night, heavy snow, deep canyons, stark light; subtle hues fill paper and canvas with considerable life force, the understated vigor of immensely rugged land overflowing with delicacies of color and movement and light flashes. In his Taos drawings, the interplay of negative and positive creates depth; their soft-edged forms interlock in a lyric poetry of form. His work, often in grays and browns, shows that the successful use of hue is a matter of making combinations and relationships rather than the degree of pigment saturation. Corbett’s exacting drawings create the tension of anticipation, “not the experience of possessing an event, but a mystery … about what might happen.” 63 [cite source]


Edited excerpt from David Witt, Taos Moderns (1992)
1952
Edward Corbett
Artist: Edward Corbett
Title: untitled
Date: c.1953
Medium: Conte crayon on paper
Dimensions: Overall: 26 1/4 x 17 15/16 in. (66.6 x 45.5 cm) not sure: 26 1/4 x 17 15/16 in. (66.6 x 45.5 cm)
Edward Corbett (1919-1971)
EDWARD CORBETT (1919-1971), moved to Taos in 1951.

I intend my work as poetry. 56

—Edward Corbett, 1952

Edward Corbett believed, with the rest of the abstract expressionists, that the value of art is intrinsic. He reflected on his own intentions as a painter and an intellectual at grips with ideas that dominated his world at the time:

I knew that I had to find a way of painting that I could do as well as [the Europeans] did their Surrealism and Cubism … and I had to literally work towards a discovery. I didn’t know what I was working towards. It was a mystery. The end was there but it was imagined. The end. I could imagine without knowing what it looked like in the painting … 57

By the time he was included in the Museum of Modern Art’s 1952 “15 Americans” exhibit, Corbett had found the imaginative track he would continue to follow. The process began with his childhood in the Southwest and continued through his time as a student, and later a teacher, at the California School of Fine Arts, San Francisco. 58 He made his first visit to Taos as early as 1947 and relocated there
in 1951. 59

Corbett completed only four or five paintings during his 20 years in Taos; the balance of his works were drawings in charcoal, chalk, pastel, pencil, and occasionally, casein. He started painting by placing colors on the canvas and then gradually eliminating or lessening them by covering them with white. 60 The canvases are filled with almost imperceptible detail. These paintings provided the structural and thematic basis for his later work.


According to Corbett, “Abstract appearances are seen, the matter is felt, the experience is emotionalized, and through continual experience the symbol is formed.” 61 Abstract appearances—suggested by the land and by architectural forms that grow out of nature—led him to a symbology of the land, not landscape pictures. Corbett, however, was equivocal about the natural environment as a catalyst for art. He wrote, “I admit to being influenced by not only nature out-of-doors, but nature within,” and concluded, “If sources of nature exist, I trust they do not influence the painting.” 62 Perhaps this denial of the influence of natural forms served as a defense measure: fully abstract work could have lost some of its magic if described with words such as “this is a cliff.”


Whatever they were based on, Corbett’s images suggest the fullness of night, heavy snow, deep canyons, stark light; subtle hues fill paper and canvas with considerable life force, the understated vigor of immensely rugged land overflowing with delicacies of color and movement and light flashes. In his Taos drawings, the interplay of negative and positive creates depth; their soft-edged forms interlock in a lyric poetry of form. His work, often in grays and browns, shows that the successful use of hue is a matter of making combinations and relationships rather than the degree of pigment saturation. Corbett’s exacting drawings create the tension of anticipation, “not the experience of possessing an event, but a mystery … about what might happen.” 63 [cite source]


Edited excerpt from David Witt, Taos Moderns (1992)
c.1953
Edward Corbett
Artist: Nicolai Fechin
Title: Untitled
Date: c. 1930
Medium: Charcoal
Dimensions: Overall: 16 15/16 x 12 5/8 in. (43 x 32 cm) frame: 23 3/4 x 19 1/2 in. (60.3 x 49.5 cm)
Nicolai Fechin (1881-1955)
c. 1930
Nicolai Fechin
Artist: Kevin Cannon
Title: Untitled
Date: 1994
Medium: Graphite
Dimensions: image: 8 1/2 x 10 7/8 in. (21.6 x 27.6 cm)
Kevin Cannon United States (b. 1948)
http://www.kevincannon.com/bio.html
and
Originally from New York, the artist studied art and music at City College of New York before traveling in Europe, Spain and Morocco. He then worked with a group of craftsmen in New York where his continued exploration in leather as a material lead him to pursue harness-and-saddle in the early 1970’s and inspired him to head West.
It was in 1978 that Kevin Cannon found his way to Taos, New Mexico. There he developed an interest in ceramics while working as assistant to the renowned West Coast ceramist and printmaker, Ken Price. The hand-sewn leather objects he had been crafting became small box/objects beautifully made, with colored interiors and handles.
After moving to back New York City in 1983 the artist had several gallery shows of his small scale geometric "figures" made from molding wet leather around a wooden form. Finely crafted, the burnished and polished leather has the appearance of ceramics or wood, even bronze, and invites close scrutiny and wonder. During this time he was an NEA recipient and continued to exhibit the work in New York City, Los Angeles,
San Francisco, Atlanta, Chicago and Houston as the scale became larger and the surfaces more intriguing. In 1990 he returned to Taos where he now lives and works.
In 1996 independent curator Jan Adlmann included Kevin Cannon’s work in the show, "Contemporary Art In New Mexico", at SITE Santa Fe. Cannon’s work can be found in the permanent collections of the Brooklyn Museum, the Harwood Museum in Taos, and the Albuquerque Museum, to name a few.

Citation: http://www. www.artnet.com
1994
Kevin Cannon
Artist: Ronald Davis
Title: Untitled
Date: 1992
Medium: Graphite, pen and watercolor on paper
Dimensions: sheet: 22 1/2 x 30 in. (57.1 x 76.2 cm) frame: 28 x 35 1/2 x 1 1/4 in. (71.1 x 90.1 x 3.1 cm)
Ronald Davis (b. 1937)
1992
Ronald Davis
Artist: Marsha Skinner
Title: Untitled
Date: c. 1990
Medium: Painted with sagebrush dipped in ink on cloth
Dimensions: 13 1/4 × 13 1/4 in. (33.7 × 33.7 cm)
Marsha Skinner (b.1944)
c. 1990
Marsha Skinner
Artist: Robert B. Miller
Title: Untitled (adobe wall)
Date: 1976
Medium: Black and white photograph
Dimensions: Overall: 20 1/16 x 16 1/8 in. (51 x 41 cm) Framed: 1 x 3/8 in. (2.5 x 1 cm)
Robert B. Miller
1976
Robert B. Miller
Artist: Oscar E. Berninghaus
Title: Untitled (Gallup, New Mexico Post Office)
Date: 1914
Medium: Pencil on paper
Dimensions: Overall: 6 9/16 x 8 1/4 in. (16.7 x 21 cm) Framed: 12 3/16 x 13 15/16 in. (31 x 35.4 cm)
Oscar E. Berninghaus United States (1874-1952)
1914
Oscar E. Berninghaus
Artist: George Fischer
Title: Untitled (man's shirt with leaves)
Date: 1970?
Medium: 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 Chicago, IL, USA (b. 1956)
1970?
George Fischer
Artist: Nicolai Fechin
Title: Untitled (portrait of a girl)
Date: 1930s
Medium: Offset lithograph
Nicolai Fechin (1881-1955)
1930s
Nicolai Fechin