| Santiago, the War Chief||c.1930||Oscar E. Berninghaus|
Oscar E. Berninghaus
||Overall: 30 x 34 1/16 in. (76.2 x 86.5 cm)|
| Muchacho||c. 1930||Kenneth Adams|
||20 1/16 x 16 1/16 in. (51 x 40.8 cm)
Framed: 26 × 22 × 1 1/2 in. (66 × 55.9 × 3.8 cm)|
| Deserted Mining Camp||c.1940||Ernest L. Blumenschein|
Ernest L. Blumenschein
Ernest Blumenschein, American artist, was a colorful and controversial figure whose character was marked by fierce determination. A supporter of Post-Impressionism, Ernest Blumenschein’s own style is marked by the use of deep, rich colors and a strict sense of spatial geometry and rhythm. Possibly the most complex and least understood member of the TaosSociety, Ernest L Blumenschein’s southwestern pictures were born of the artist’s interest in formal integrity and harmony rather than a desire to accurately portray pueblo culture.
Similar to several of his later Taos colleagues, Ernest Blumenschein was of modest Midwesterner beginnings. He was born inPittsburgh, PA and earned a scholarship to study at the Cincinnati College of Music after graduating from high school. He took an illustration class at the Cincinnati Art Academy and decided to pursue a career in the visual arts. In 1892, he moved to New York to study at the Art Students League. He soon became convinced that European study was necessary to establish himself as a professional artist and enrolled at the Academie Julian in Paris, where he became acquainted with Bert Phillips and J.H. Sharp. Sharp regaled the younger artists with tales of his 1893 visit to Taos.
Upon his return from Paris in 1896, Blumenschein worked as an illustrator in New York, where he shared a studio with Phillips. After and assignment that took him to Arizona and New Mexico, Blumenschein went west with Phillips in 1898. When a broken wagon wheel landed the artists in the nearby town of Taos, Phillips decided he had reached the end of his journey.
Blumenschein stayed in Taos for 3 months returning to his lucrative illustration career in New York and eventually to Paris for further study at the Academie Julian in 1899. During his stay in New York he met Mary Green and married her. She was an established artist whose work was often featured in the annual Salon.
After their return to New York in 1909, the couple worked as an illustration team and Blumenschein taught at the Art Students League. He began to spend his summers in Taos, New Mexico, and settled there permanently in 1919. https://sites.google.com/site/parsonsartists/home/ernest-l-blumenschein
||Overall: 27 1/16 x 33 1/4 in. (68.7 x 84.5 cm)|
| Husking Corn||1939||Mary G. Blumenschein|
Mary G. Blumenschein
Born in New York City, Mary Shepard studied at the Adelphi Academy in Brooklyn and then at the Pratt Institute. When she was only 17 years of age she left for Paris in 1886 where she worked with Raphaël Collin, an artist best known for establishing links with well-known artists working in Japan.
She entered the Salon d'Automne (Autumn Salon) in 1900 and was awarded a 3rd class honor. In 1900, she became the second woman artist (after Mary Cassatt) to win the Gold Medal.
In Paris in 1905, she met and married Ernest L. Blumenschein, also an artist. They moved back to New York in 1909 for the birth of their daughter, Helen. While there they taught at Pratt and did work for various magazines such as McClure’s, American and Century.
Her husband discovered Taos, New Mexico after an accident stranded him there in 1898. While he made annual summer trips there Mary stayed in New York. After the sale of a house she had inherited made them financially independent, they moved to Taos in 1919, eventually becoming part of the Taos Society of Artists.
||Overall: 39 15/16 x 39 15/16 in. (101.5 x 101.5 cm)|
| Christmas Eve at Taos Pueblo||1961||Dorothy Eugenie Brett|
Dorothy Eugenie Brett
(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
||Framed: 49 3/4 × 41 1/2 × 3 in. (126.4 × 105.4 × 7.6 cm)|
| The Cacique||c. 1932||E. Irving Couse|
E. Irving Couse
||Overall: 34 5/8 x 45 11/16 in. (88 x 116 cm)
Framed: 41 1/2 x 52 in.|
| Untitled||1930||Mabel Degan||
||Overall: 32 x 21 1/2 in. (81.3 x 54.6 cm)
Framed: 36 7/8 x 26 1/2 in. (93.7 x 67.3 cm)|
| Ginger||c. 1932||W. Herbert "Buck" Dunton|
W. Herbert "Buck" Dunton
||Overall: 50 13/16 x 33 7/8 in. (129 x 86 cm)|
| The Big Top||n.d.||Martin Fischer|
||Overall: 24 x 32 in. (61 x 81.3 cm)
Framed: 29 x 37 in. (73.7 x 94 cm)|
| Untitled (Taos Pueblo Church)||c. 1920||Blanche C. Grant|
Blanche C. Grant
||Overall: 16 1/8 x 20 1/16 in. (41 x 51 cm)
frame: 22 1/8 x 26 1/8 in. (56.2 x 66.4 cm)|