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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: Earl Stroh
Title: Shell Game
Date: c.1960
Medium: Silverpoint on paper
Dimensions: sight: 5 x 4 1/4 in. (12.7 x 10.8 cm) frame: 12 1/8 x 11 1/2 in. (30.8 x 29.2 cm)
Earl Stroh United States (1924-2005)
Buffalo, NY
Earl Stroh
Artist: William Purinton Bomar
Title: Sketch For Neil's Italian Hat
Date: c. 1960
Medium: Charcoal on paper
Dimensions: Overall: 22 7/16 x 16 3/4 in. (57 x 42.5 cm)
William Purinton Bomar United States (1919 - 1991)
Bomar was born in Fort Worth. He reportedly began painting at age seven after his interest had been sparked by his sitting for a portrait painted by Murray Bewley. Sallie Blythe Mummert taught the youthful Bomar to paint in oils and Joseph G. Bakos instructed him in watercolors in Santa Fe. Bomar attended the Cranbrook (Michigan) Art Academy (1940 - 1941) and studied the following year with John Sloan. Afterward Bomar received criticism from Amedee Ozenfant and instruction from Hans Hofmann. After regular summer stays in New Mexico since his youth, Bomar moved from New York City to Ranchos de Taos in 1972. He died in Clovis, New Mexico.

Bomar tends to dramatize what he sees, turning a grove of tall trees into a quiver of arrows shooting at the blue sky; letting pink houses in Taos all but lose themselves in a pinker sky, or turning a cloudscape over mountains into a giant scenic effect. In short, like Turner, a landscape for him is not a passive spectacle but an emotional force. At its best this is exhilarating work. (New York Times, January 2, 1955)

Everything extraneous is excluded from luminous, semi-abstract landscape paintings whose basic features - rocks, sky sea and cloud forms - appear to belong to a floating world. )New York Times, October 10, 1964)

Source: Texas Painters, Sculptors & Graphic Artists by John and Deborah Powers

c. 1960
William Purinton Bomar
Artist: Lee Mullican
Title: Small Worlds
Date: 1966
Medium: Pastel on board
Dimensions: Overall: 24 15/16 x 19 15/16 in. (63.4 x 50.7 cm)
Lee Mullican (1919 - 1998)
Chickasha, OK

Dates in Taos: early 1970's
Lee Mullican
Artist: Dora Kaminsky
Title: Spring Thaw #1
Date: c. 1940
Medium: Serigraph
Dimensions: Overall: 14 9/16 x 20 1/16 in. (37 x 51 cm)
Dora Kaminsky (1909-1977)
Dora Kaminsky was born in 1909 in New York City, and entered the Educational Alliance Art School for gifted children at the age of eleven. This was the first stage for a life of education, travel, art, and privilege. She went on to study at the Art Students League of New York. In the 1930’s she traveled and studied extensively throughout Europe. Her adventures took her from Paris and Vienna to Munich and Stuttgart Germany. To earn money for art supplies she would pose for artists and sculptors. She was a staff member of the Brooklyn Museum for three years, and worked as an arts and crafts counselor for summer camps. One of her major contributions to the arts was to help create The National Serigraph Society in 1943, an organization she was a member of for thirteen years.

In 1944 she headed out west to a place she had heard of called Taos. Her first visit was just for the summer in which time she created over 70 watercolor paintings and drawings. Dora would return every other summer until moving here permanently in 1954, and in the summer of 1955 she traveled to and maintained a studio in Delphi Greece. In 1956 and 1957 she was awarded a Wurlitzer Foundation grant, she produced many serigraphs during this time. Her travels also took her to Hawaii where she did many pastel drawings of ocean life.

Upon returning to Taos she would meet and marry the famous Russian painter Leon Gaspard in 1958. After his death in 1964 she would remain on his estate and promote his work, arranging two memorial exhibitions, one at the West Texas Museum in Lubbock Texas, and at the New Mexico Museum in Santa Fe. Dora continued her travels to exotic areas of the world in1972 and ’73 she visited Ethiopia, India and Ceylon.

Dora’s art style ranged from realism to abstractions, and her medium choices were just as varied, from oil and watercolor paintings to ink and pastel drawings as well as serigraph prints and collage’s. Her life was “extraordinarily active and broad in scope”, much like the artwork she created. Her artwork has been exhibited at the Honolulu Academy of Art, the Metropolitan Museum of Art, and the Southwest Museum in Los Angeles as well as here at the Taos Art Museum. Interested in bridging the gap between world cultures, her artwork has become “meaningful human documents, relating to one another.”
c. 1940
Dora Kaminsky
Artist: Kenneth Adams
Title: Taos Indian Woman
Date: 1950
Medium: print reproductions
Dimensions: Overall: 16 1/8 x 11 13/16 in. (41 x 30 cm) mat: 20 x 16 1/8 in. (50.8 x 41 cm)
Kenneth Adams United States (1897-1966)

Kenneth Adams
Artist: Hyde Solomon
Title: Taos Mountain
Date: 1972
Medium: Oil on canvas
Dimensions: Overall: 24 x 29 15/16 in. (61 x 76 cm)
Hyde Solomon (1911-1982)
Hyde Solomon
Artist: Valerie Graves
Title: Taos Valley from Los Cordovas
Date: 1985
Medium: Pastel
Dimensions: Overall: 16 1/8 x 39 in. (41 x 99 cm)
Valerie Graves (b.1941)
Valerie Graves
Artist: Joseph Imhof
Title: Taos Woman, Eve Mirabel Gomez
Date: c. 1930
Medium: Lithograph
Dimensions: Overall: 15 3/8 x 11 in. (39 x 28 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..."
c. 1930
Joseph Imhof
Artist: W. Herbert "Buck" Dunton
Title: The Bronco Buster
Date: 1931
Medium: Lithograph
Dimensions: Overall: 18 3/4 x 16 1/16 in. (47.7 x 40.8 cm) frame: 24 1/4 x 20 1/8 in. (61.6 x 51.1 cm)
W. Herbert "Buck" Dunton United States (1878-1936)
W. Herbert "Buck" Dunton