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drawing

Artist: Margaret I. Nes
Title: Acoma Passage
Date: 1994
Medium: Pastel
Dimensions: frame: 31 3/4 x 29 3/4 in. (80.6 x 75.6 cm)
Margaret I. Nes (b. 1950)
1994
Margaret I. Nes
Artist: Joseph Imhof
Title: Adam Trujillo
Date: early 20th Century
Medium: Graphite pencil and charcoal on paper, heightened with white chalk and gouache
Dimensions: Framed: 23 x 18 1/2 in. (58.4 x 47 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/
early 20th Century
Joseph Imhof
Artist: Ann Saint John Hawley
Title: After September 11, 2001
Date: c. 2001
Medium: Mixed media on paper
Ann Saint John Hawley United States (1919-2011)
Born in the Panama Canal Zone in 1919 where her father, a surgeon in the Army, was stationed, she later moved to the Philippines where she was home schooled. Her mother, who always encouraged her creativity, exposed her to poetry and art. She began taking dance lessons when she was five years old, continuing through her mid-eighties. Finding “spirit in dance” rather than just form, she also found the same “spirit in art” as well as in her daily life. Until her death, a photograph of Eleanor King, a modern dancer who lived in New Mexico for many years, had a prominent place on the mantle of her adobe fireplace.

Graduating from Northwestern University with a degree in theater, she married while her husband was still in medical school. When she was a young woman raising her six children, Ann took classes in singing, clay, silkscreen and other art forms. She always pursued dancing, taking lessons for many years before becoming a full time painter. Her paintings became a canvas for dance. Butoh, a form of Japanese dance, has played a major role in her work. It provided the feeling of freedom that she found so stimulating, expressing that feeling through her work on canvas. In a quote from Fifty and Beyond; New Beginnings in Health and Well Being, she says “Everybody speaks with poetry. The whole thing is that you have to find the way to do it. What I want to do is let go, not remain in a stationary position. This represents my sense of freedom.”

Although her family always came first, Ann actively fed her soul, always making the time for her art. Recently her daughter Michelle said of her, “At almost ninety years of age she is youthful in a way that some people never are, with a curiosity and enthusiasm for life that is contagious and inspiring.” Another daughter, Tina, said it this way, “She has an intuitive and inherent appreciation for the beauty found in the art that is unconstrained by self-conscious adherence to society’s rules for conformity to conventional beauty.” And her son, Rob, acknowledges “the gift of a sense of holiness, holiness of life and all that is sacred” that he received from his mother. In a quote from Fifty and Beyond, Ann said, “You have to have your own world…….the most important thing is your children – I had my dedication to my family and this secret place that was always roaming free.”

As an artist, Ann St. John Hawley produced a prodigious number of pieces of art ranging from oil and acrylic portraits, landscapes, water colors, pen and ink figures, block and mono prints, Sumi drawings, Butoh drawings to ceramic pots and wood sculptures. Her goal was to communicate through her artistic medium the divine dance of nature, color and form. Added to this were her recent sculptures in the form of mobiles made from old silk parachutes. Among Ann’s more recent exhibitions before her death in 2011 were solo shows at New Directions Gallery (2004) and at the Harwood Museum of Art (2006) and Fenix Gallery (2006) in Taos.

For Ann, everything she saw around her inspired her to reach for new and different forms of artistic and spiritual expression. That included new ideas, new thoughts and philosophies. She never grew old in spirit, constantly involved in taking classes, whether in drumming or in the study of world religions at the University of New Mexico, often attending lectures, relishing the mysticism in religions. All of this provided more inspiration for her painting.

Ann is not only remarkable because she was a working artist until she was past ninety, nor only for the amazing collection of work she produced, but for her spirit which permeated all she did. Her work encompassed a wide variety of expression, constantly evolving as she was. Although never proclaiming herself as a philosopher, she was one. Here’s what she said about creating anew, “I also like chaos. You have to have some chaos in order to find a new way. Although it’s painful and you feel lost, out of chaos comes some kind of direction or insights – something new emerges.” She never stopped searching for that something new.

Friendship with Ann has touched all who have ever received the warmth of her smile or seen the twinkle in her eye, never to be forgotten. She was loved and cherished by both her family and her friends. Ann’s extensive body of work is her legacy. It represents, more than anything else, the freedom of spirit that was the driving force behind her every artistic expression.


http://womenoftaos.org/women/profiles-legends?/item/184/Ann-St-John-Hawley-Artist
c. 2001
Ann Saint John Hawley
Artist: Elizabeth Haidle
Title: Anamented Pescoral
Date: 2008
Medium: Ink
Dimensions: Overall: 6 x 6 in. (15.2 x 15.2 cm)
Elizabeth Haidle
2008
Elizabeth Haidle
Artist: Helen Greene Blumenschein
Title: Andrew Dasburg
Date: c.1950
Medium: drawing conte
Dimensions: Overall: 20 1/16 x 14 15/16 in. (51 x 38 cm) frame: 20 1/4 x 15 3/8 in. (51.4 x 39.1 cm)
Helen Greene Blumenschein United States (1909 - 1989)
Helen Blumenschein was the daughter of nationally famed parents, Ernest and Mary Blumenschein. In 1919 at the age of ten she was brought by her parents from New York to New Mexico, destined with them to pioneer the arts and crafts movement of Taos. Miss Blumenschein stressed that her development as an artist was devoid of parental influence other than the strong family creative atmosphere.

A lifetime deep interest in people, ecology and archaeology is evident in Miss Blumenschein’s dominant work subjects, which depict the mountainous southwest in which she lived most of her life. Her schooling included Taos Schools, The Packer Collegiate Institute in Brooklyn Heights, New York; two years study in Paris and printmaking work at the Art Student League in New York City from 1932-36.

She exhibited prints nationally and abroad from 1936-1945 and has had prints purchased by the Carnegie in 1951, New York CityPublic Library, and the New Jersey Library. Some of her selected one-person shows of portraits include Oklahoma City ArtCenter and the New Mexico Museum of Art.

From her arrival in Taos as a small child, driven from the railroad at Raton on the Colorado border by her father, who barely made it over the steep pass, Blumenschein’s work is vital in scope and history.

http://www.parsonsart.com/home/helen-g-blumenschein

c.1950
Helen Greene Blumenschein
Artist: Marylou Reifsnyder
Title: Angel
Date: c. 1955-60
Medium: Watercolor, ink? wash on rice paper
Dimensions: 23 1/2'' x 12''
Marylou Reifsnyder (1922-1990)
c. 1955-60
Marylou Reifsnyder
Artist: Marylou Reifsnyder
Title: Angel
Date: 1958
Medium: Pencil on paper
Dimensions: 5 1/8'' x 2 7/8''
Marylou Reifsnyder (1922-1990)
1958
Marylou Reifsnyder
Artist: Marylou Reifsnyder
Title: Angel Having A Vision
Date: c. 1962
Medium: Watercolor on paper
Dimensions: Overall: 14'' x 7 3/4'' Paper: 20'' x 16''
Marylou Reifsnyder (1922-1990)
c. 1962
Marylou Reifsnyder
Artist: Marylou Reifsnyder
Title: Angel With Flute and Hat
Date: 1981
Medium: Marker, pencil on paper
Dimensions: 10 5/8'' x 11''
Marylou Reifsnyder (1922-1990)
1981
Marylou Reifsnyder