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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.

TitleSorted AscendingDateArtistClassificationDimensions
Dream with Womann.d.Thomas Benrimo
Thomas Benrimo United States (1887-1958)
THOMAS BENRIMO (1887-1958), moved to Taos in 1939.

The flowing quality of design which Tom Benrimo subtly employs suggests a penetrating musical quality.

—Allen S. Weller, 1952

In an art community known for its reclusive artists, Thomas Benrimo stood out by his absence from the art scene in his early Taos years. He lived in Taos for over twelve years before sharing his work with the public for the first time in a group exhibition at the Hotel La Fonda in 1951.

Benrimo moved to Taos in 1939 on the strength of winning the Art Director Medal for Color Illustration award, an honor that included a $5,000 prize. He left New York’s Pratt Institute, where he had taught such courses as “Applied Surrealism” for commercial artists. A painter whose roots went back to the early days of American modernism, he now had the means to make the transition back into fine art, which he had abandoned in order to support his tubercular mother and brother.

His first artistic project in Taos, done in partnership with his wife, Dorothy Benrimo, a fine jeweler, was converting an old adobe ruin into a stately home. In his early Taos paintings, he attempted to regain the position that he had staked out more than 20 years earlier in New York. Little of his work from that period remains, but it is clear that the 1913 Armory Show deeply impressed him; he painted abstractions by 1918, if not before.

His Taos work included subject matter suggested by ancient Roman and Etruscan art and Greek vase painting, and also influenced by cubism. His facility for painting detail exceeded that of most artists, and his studies of modernist painting during his teaching career made him one of the best informed artists in the country. His teaching notes reveal a brilliant mind which welded together the many currents of modernism to make them understandable to his students. Benrimo's reputation was such that László Moholy-Nagy, an artist and founder of the New Bauhaus art school in Chicago, invited him to become the school’s director in the 1940s. But, by that time Benrimo had decided to devote the remainder of his life to painting.

During the war years, he concentrated on finely crafted surrealistic paintings. In the 1950s, Benrimo combined surrealism and strong structural form with lyrically tragic and passionate themes, as seen in late work such as White Moon #2 (ca. 1954).
Benrimo's work achieved national exposure when one of his paintings was included in the 1951 “Contemporary American Painting and Sculpture” exhibition at the University of Illinois. Asked to comment on his work for the catalog, he said (quoting author Charles Norman): “Feeling and form are all; and that man is most an artist who fuses those two into an indivisible one.”

Edited excerpt from David L. Witt, Taos Moderns: Art of the New (1992)
drawing Overall: 14 9/16 x 19 11/16 in. (37 x 50 cm)
Nightn.d.Thomas Benrimo
Thomas Benrimo United States (1887-1958)
THOMAS BENRIMO (1887-1958), moved to Taos in 1939.

The flowing quality of design which Tom Benrimo subtly employs suggests a penetrating musical quality.

—Allen S. Weller, 1952

In an art community known for its reclusive artists, Thomas Benrimo stood out by his absence from the art scene in his early Taos years. He lived in Taos for over twelve years before sharing his work with the public for the first time in a group exhibition at the Hotel La Fonda in 1951.

Benrimo moved to Taos in 1939 on the strength of winning the Art Director Medal for Color Illustration award, an honor that included a $5,000 prize. He left New York’s Pratt Institute, where he had taught such courses as “Applied Surrealism” for commercial artists. A painter whose roots went back to the early days of American modernism, he now had the means to make the transition back into fine art, which he had abandoned in order to support his tubercular mother and brother.

His first artistic project in Taos, done in partnership with his wife, Dorothy Benrimo, a fine jeweler, was converting an old adobe ruin into a stately home. In his early Taos paintings, he attempted to regain the position that he had staked out more than 20 years earlier in New York. Little of his work from that period remains, but it is clear that the 1913 Armory Show deeply impressed him; he painted abstractions by 1918, if not before.

His Taos work included subject matter suggested by ancient Roman and Etruscan art and Greek vase painting, and also influenced by cubism. His facility for painting detail exceeded that of most artists, and his studies of modernist painting during his teaching career made him one of the best informed artists in the country. His teaching notes reveal a brilliant mind which welded together the many currents of modernism to make them understandable to his students. Benrimo's reputation was such that László Moholy-Nagy, an artist and founder of the New Bauhaus art school in Chicago, invited him to become the school’s director in the 1940s. But, by that time Benrimo had decided to devote the remainder of his life to painting.

During the war years, he concentrated on finely crafted surrealistic paintings. In the 1950s, Benrimo combined surrealism and strong structural form with lyrically tragic and passionate themes, as seen in late work such as White Moon #2 (ca. 1954).
Benrimo's work achieved national exposure when one of his paintings was included in the 1951 “Contemporary American Painting and Sculpture” exhibition at the University of Illinois. Asked to comment on his work for the catalog, he said (quoting author Charles Norman): “Feeling and form are all; and that man is most an artist who fuses those two into an indivisible one.”

Edited excerpt from David L. Witt, Taos Moderns: Art of the New (1992)
drawing Overall: 15 3/4 x 19 11/16 in. (40 x 50 cm) framed: 23 1/2" x 27"
Watering Placen.d.Thomas Benrimo
Thomas Benrimo United States (1887-1958)
THOMAS BENRIMO (1887-1958), moved to Taos in 1939.

The flowing quality of design which Tom Benrimo subtly employs suggests a penetrating musical quality.

—Allen S. Weller, 1952

In an art community known for its reclusive artists, Thomas Benrimo stood out by his absence from the art scene in his early Taos years. He lived in Taos for over twelve years before sharing his work with the public for the first time in a group exhibition at the Hotel La Fonda in 1951.

Benrimo moved to Taos in 1939 on the strength of winning the Art Director Medal for Color Illustration award, an honor that included a $5,000 prize. He left New York’s Pratt Institute, where he had taught such courses as “Applied Surrealism” for commercial artists. A painter whose roots went back to the early days of American modernism, he now had the means to make the transition back into fine art, which he had abandoned in order to support his tubercular mother and brother.

His first artistic project in Taos, done in partnership with his wife, Dorothy Benrimo, a fine jeweler, was converting an old adobe ruin into a stately home. In his early Taos paintings, he attempted to regain the position that he had staked out more than 20 years earlier in New York. Little of his work from that period remains, but it is clear that the 1913 Armory Show deeply impressed him; he painted abstractions by 1918, if not before.

His Taos work included subject matter suggested by ancient Roman and Etruscan art and Greek vase painting, and also influenced by cubism. His facility for painting detail exceeded that of most artists, and his studies of modernist painting during his teaching career made him one of the best informed artists in the country. His teaching notes reveal a brilliant mind which welded together the many currents of modernism to make them understandable to his students. Benrimo's reputation was such that László Moholy-Nagy, an artist and founder of the New Bauhaus art school in Chicago, invited him to become the school’s director in the 1940s. But, by that time Benrimo had decided to devote the remainder of his life to painting.

During the war years, he concentrated on finely crafted surrealistic paintings. In the 1950s, Benrimo combined surrealism and strong structural form with lyrically tragic and passionate themes, as seen in late work such as White Moon #2 (ca. 1954).
Benrimo's work achieved national exposure when one of his paintings was included in the 1951 “Contemporary American Painting and Sculpture” exhibition at the University of Illinois. Asked to comment on his work for the catalog, he said (quoting author Charles Norman): “Feeling and form are all; and that man is most an artist who fuses those two into an indivisible one.”

Edited excerpt from David L. Witt, Taos Moderns: Art of the New (1992)
drawing Overall: 15 3/4 x 22 1/16 in. (40 x 56 cm)
The Cityn.d.Thomas Benrimo
Thomas Benrimo United States (1887-1958)
THOMAS BENRIMO (1887-1958), moved to Taos in 1939.

The flowing quality of design which Tom Benrimo subtly employs suggests a penetrating musical quality.

—Allen S. Weller, 1952

In an art community known for its reclusive artists, Thomas Benrimo stood out by his absence from the art scene in his early Taos years. He lived in Taos for over twelve years before sharing his work with the public for the first time in a group exhibition at the Hotel La Fonda in 1951.

Benrimo moved to Taos in 1939 on the strength of winning the Art Director Medal for Color Illustration award, an honor that included a $5,000 prize. He left New York’s Pratt Institute, where he had taught such courses as “Applied Surrealism” for commercial artists. A painter whose roots went back to the early days of American modernism, he now had the means to make the transition back into fine art, which he had abandoned in order to support his tubercular mother and brother.

His first artistic project in Taos, done in partnership with his wife, Dorothy Benrimo, a fine jeweler, was converting an old adobe ruin into a stately home. In his early Taos paintings, he attempted to regain the position that he had staked out more than 20 years earlier in New York. Little of his work from that period remains, but it is clear that the 1913 Armory Show deeply impressed him; he painted abstractions by 1918, if not before.

His Taos work included subject matter suggested by ancient Roman and Etruscan art and Greek vase painting, and also influenced by cubism. His facility for painting detail exceeded that of most artists, and his studies of modernist painting during his teaching career made him one of the best informed artists in the country. His teaching notes reveal a brilliant mind which welded together the many currents of modernism to make them understandable to his students. Benrimo's reputation was such that László Moholy-Nagy, an artist and founder of the New Bauhaus art school in Chicago, invited him to become the school’s director in the 1940s. But, by that time Benrimo had decided to devote the remainder of his life to painting.

During the war years, he concentrated on finely crafted surrealistic paintings. In the 1950s, Benrimo combined surrealism and strong structural form with lyrically tragic and passionate themes, as seen in late work such as White Moon #2 (ca. 1954).
Benrimo's work achieved national exposure when one of his paintings was included in the 1951 “Contemporary American Painting and Sculpture” exhibition at the University of Illinois. Asked to comment on his work for the catalog, he said (quoting author Charles Norman): “Feeling and form are all; and that man is most an artist who fuses those two into an indivisible one.”

Edited excerpt from David L. Witt, Taos Moderns: Art of the New (1992)
drawing Overall: 14 15/16 x 21 5/8 in. (38 x 55 cm)
Mesa Verden.d.Thomas Benrimo
Thomas Benrimo United States (1887-1958)
THOMAS BENRIMO (1887-1958), moved to Taos in 1939.

The flowing quality of design which Tom Benrimo subtly employs suggests a penetrating musical quality.

—Allen S. Weller, 1952

In an art community known for its reclusive artists, Thomas Benrimo stood out by his absence from the art scene in his early Taos years. He lived in Taos for over twelve years before sharing his work with the public for the first time in a group exhibition at the Hotel La Fonda in 1951.

Benrimo moved to Taos in 1939 on the strength of winning the Art Director Medal for Color Illustration award, an honor that included a $5,000 prize. He left New York’s Pratt Institute, where he had taught such courses as “Applied Surrealism” for commercial artists. A painter whose roots went back to the early days of American modernism, he now had the means to make the transition back into fine art, which he had abandoned in order to support his tubercular mother and brother.

His first artistic project in Taos, done in partnership with his wife, Dorothy Benrimo, a fine jeweler, was converting an old adobe ruin into a stately home. In his early Taos paintings, he attempted to regain the position that he had staked out more than 20 years earlier in New York. Little of his work from that period remains, but it is clear that the 1913 Armory Show deeply impressed him; he painted abstractions by 1918, if not before.

His Taos work included subject matter suggested by ancient Roman and Etruscan art and Greek vase painting, and also influenced by cubism. His facility for painting detail exceeded that of most artists, and his studies of modernist painting during his teaching career made him one of the best informed artists in the country. His teaching notes reveal a brilliant mind which welded together the many currents of modernism to make them understandable to his students. Benrimo's reputation was such that László Moholy-Nagy, an artist and founder of the New Bauhaus art school in Chicago, invited him to become the school’s director in the 1940s. But, by that time Benrimo had decided to devote the remainder of his life to painting.

During the war years, he concentrated on finely crafted surrealistic paintings. In the 1950s, Benrimo combined surrealism and strong structural form with lyrically tragic and passionate themes, as seen in late work such as White Moon #2 (ca. 1954).
Benrimo's work achieved national exposure when one of his paintings was included in the 1951 “Contemporary American Painting and Sculpture” exhibition at the University of Illinois. Asked to comment on his work for the catalog, he said (quoting author Charles Norman): “Feeling and form are all; and that man is most an artist who fuses those two into an indivisible one.”

Edited excerpt from David L. Witt, Taos Moderns: Art of the New (1992)
drawing 10 × 12 in. (25.4 × 30.5 cm)
Untitled (seated Mexican)n.d.Howard Cook
Howard Cook United States (1901 - 1980)
drawing Overall: 9 1/16 x 6 1/2 in. (23 x 16.5 cm) Framed: 18 1/16 x 14 15/16 x 13/16 in. (45.8 x 38 x 2 cm)
Hong Kong Lounge, Las Vegas, New Mexico, looking North from Richard Lucero's 1972 Buick Centuriann.d.Alex Harris
Alex Harris
photography Overall: 8 11/16 x 10 5/8 in. (22 x 27 cm)
Untitled (Gallup, New Mexico Post Office)1914Oscar E. Berninghaus
Oscar E. Berninghaus United States (1874-1952)
drawing 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)
Harwood House1918Gustave Baumann
Gustave Baumann German (1881-1971)
Gustave Baumann was born in Magdeburg, Germany, in 1881. Ten years later, along with his family, Baumann relocated to the United States, eventually settling in Chicago. Displaying a natural aptitude for the arts, he worked as a commercial engraver while putting himself through night school at the Art Institute of Chicago - before returning to Germany in 1904 to study wood block printing at the Kunstgewerbeschule ("School of Arts and Crafts") in Munich. Upon his return to the United States, Baumann received international acclaim when one of his color woodcuts won the gold medal at the Pan-Pacific International Exhibition (1915) in San Francisco. Three years later, in 1918, Baumann settled in Santa Fe, quickly emerging as a leading artistic figure of the American Southwest. He is generally credited with the revival of color wood block printing in the 20th century, and was hand-picked as Area Coordinator for the Works Progress Administration's Public Works of Art Project in the 1930's. http://www.gustavebaumann.net/Gustave_Baumann_Biography_Page.htm
drawing Overall: 10 5/8 x 9 13/16 in. (27 x 25 cm)
Rio Grande River, New Mexico1919Marsden Hartley
Marsden Hartley (1877-1943)
drawing support: 17 1/2 x 27 3/4 in. (44.5 x 70.5 cm) frame: 25 3/16 x 35 1/2 x 1 3/4 in. (64 x 90.2 x 4.5 cm)