| Carnival #12||c. 1990||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.
||Overall: 48 x 36 in. (121.9 x 91.4 cm)|
| From The Elements||1979||Robert C. Ellis|
Robert C. Ellis
Born in Jackson, Texas, R.C. Ellis first began studying art through The University of New Mexico, Taos Summer Field School in 1942, where he met Andrew Dasburg whom he admired greatly. Ellis would have moved to Taos earlier if it had not been for WWII, and his service through the Coast Guard. After the war he returned to studying art at the New School of Social Research in New York in 1949, where he studied Abraham Rattner and Adja Yunkers (later one of the Albuquerque moderns). He would return to New Mexico the following year to study at the University of New Mexico and eventually obtaining his BFA in 1950. Most importantly to Ellis, between 1947 and 1953, he lived intermittently with the Tarahumara Indians of Mexico’s Sierra Madre whose art he greatly admired. His ties to Mexico, which were as strong as those he felt for the Southwest, became even stronger with his 1957 marriage to Rosamaria Ramirez de Alba, a Mexican citizen. He was the only artist among the Taos Moderns to pursue his career in two countries showing his work on both sides of the border. He returned to Taos in 1961 as a resident of the Wurlitzer Foundation and again briefly in 1964, before finally settling in Taos in 1965.
His paintings from the 1940’s onward moved through Cubist and Abstract Expressionist influenced periods. In the 1950’s his interest in the nature of luminosity led him to try for a kind of stained glass effect. In later works he mosved to a more minimalist – type artwork in both his painting and print making.
His first solo exhibition was at Gump’s Gallery in San Francisco California in 1942 and from there is work was exhibited in Washington D.C., Tucson Arizona, Santa Fe NM, Albuquerque NM, Linsborg KS, Amarillo TX, The Panhandle Museum in Carson County TX, The Ellen Noel Art Museum of the Permain Basin, Odessa TX, and at the Harwood Museum of Art in Taos. He exhibited internationally in several galleried in Mexico, as well as at the Museo Nacional de Arte Moderno in Mexico City in 1964.
Ellis applied what he saw in the landscape, interpreting the lessons garnedred from his observations to create his compositions. Particularly by the time of his late work, he captured in paint, ink and other mediums the paradox of the desert, a surface that at first appears simple, but only because it’s true complexity is so well integrated into a flow of light and form. R.C. Ellis died in Albuquerque New Mexico in 1979.
Artist Biography.2015.203 Fine Art http://www.203fineart.com/Robert_C_Ellis.html
||Overall: 22 1/16 x 30 in. (56 x 76.2 cm)|
| Cabresto Canyon||1972||Doel Reed|
(1894 - 1985)
Remembered as an important member of the Taos art community after 1960, Doel Reed achieved an international reputation as a landscape artist and printmaker, and as a master of aquatint. His paintings and aquatints were earth-toned and geometric in style and featured architectural forms of the New Mexico landscape.
He was born in Logansport, Indiana, and from 1924 until 1959, chaired the art department at Oklahoma State University. Then he moved to Talpa, near Taos, New Mexico where he and his family had been spending many summers and he had done and he did much sketching in Arizona and New Mexico, especially the countryside and pueblos near Talpa. His method of working was to sketch in the field and then complete the paintings in his studio.
He first pursued architecture but enjoying drawing, enrolled at the Art Academy of Cincinnati from 1916 to 1917 and 1919 to 1920. He served in World War I and was gassed and temporarily blinded. After months in base hospitals in France, he returned to the Art Academy and became interested in graphics. However, in those days, there were few schools specializing in that subject, so he was largely self taught. In 1952, he was elected to the National Academy of Design.
He wrote a book, Doel Reed Makes an Aquatint, published 1965, and known for oils and caseins, he earned much fame from his aquatints.
An article titled 'Doel Reed Haunted by Nature's Moods', by M.J. Van Deventer, was in Southwest Art, August 1985 (p 58)
Dean Porter and Teresa Ebie, Taos Artists and Their Patrons
Peggy and Harold Samuels, The Illustrated Biographical Encylopedia of Artists of the American West
His historic Taos studio has been created as the Doel Reed Center
||Overall: 20 7/8 x 27 15/16 in. (53 x 71 cm)
frame: 24 1/2 x 33 1/4 in. (62.2 x 84.5 cm)|
| Carpe Diem, I||1972||Robert D. Ray|
Robert D. Ray
(1924 - 2002)
Dates in Taos: 1954
||Overall: 8 13/16 x 8 13/16 in. (22.4 x 22.4 cm)
Framed: 10 1/16 x 10 1/16 x 1 7/16 in. (25.5 x 25.5 x 3.6 cm)|
| Tundra||1967||Agnes Martin||
||72 × 72 in. (182.9 × 182.9 cm)|
| Untitled (head)||1963||Edward Corbett|
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)
||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)|
| Hawthorn||1963||Ronald Davis||
| 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)|
| Vertical Modulations in Light and Dark||1961||Clay Spohn||
||Overall: 64 3/16 x 50 in. (163 x 127 cm)|
| Abstraction||c. 1960||Ben Wade|
(1919 - 2007)
Dates in Taos: 1970-2005