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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.

TitleDateSorted AscendingArtistClassificationDimensions
Adobe and Wild Plum1965Doel Reed
Doel Reed United States (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)


Source:

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
http://drca.okstate.edu/doel-reed-bio
print Overall: 14 15/16 x 18 5/16 in. (38 x 46.5 cm)
Winter Sun1967Doel Reed
Doel Reed United States (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)


Source:

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
http://drca.okstate.edu/doel-reed-bio
print Overall: 14 15/16 x 18 5/16 in. (38 x 46.5 cm)
Untitledc. 1960Louis Ribak
Louis Ribak (1903-1979)
LOUIS RIBAK (1903-1979), moved to Taos in 1944.

In his first show in eight years [Louis Ribak] reports from Mexico and the Southwest with added strength and color. There is new freedom with emphasis on forms as such rather than on objects ...

—New York Times, May 1954

Beginning with work that was included in the 1934 Venice Biennale and continuing with his social realist painting of the 1930s, Louis Ribak captured vibrant images of urban life with considerable power. He was making an important career when, in 1944, he abandoned New York for Taos with his wife, Beatrice Mandelman. Various reasons have been suggested for the move: Ribak’s health; John Sloan's suggestion that the couple move to New Mexico; and their general disenchantment with New York. All these were probably contributing factors, but, since there was a good deal of wanderlust in Ribak, perhaps he just needed a change. As curator Harry Rand observed in the catalog of a 1984 exhibition of Ribak’s late paintings,

Something entirely unsuspected gripped Ribak in the Southwest and he was never able to disenthrall himself from the heady solemnity of the landscape, its beauty or emotive potential.

Ribak's approach shifted from social realism to full abstraction during his Taos years. Much of his early Taos work consists of semi-abstract landscapes, artistically descended from the paintings of American artist Albert P. Ryder. In Ryders’ work there is a living aspect to the environment in which humankind is not isolated, but is instead an intimate part. Ribak seems to have brought this concept with him from New York but, under the powerful influence of contact with New Mexico's pueblos, it was dramatically reinforced, expanded, and adapted to the changed circumstances of his life. He had to change to meet the demands of the new environment. Mandelman later said, “We had to start all over again. We spent the first couple of years painting the landscape” as a means of coming to understand the West.

Highly respected by his peers, Ribak was looked up to by the Taos Moderns as “an elder compadre,” a role model. In 1947, he opened the Taos Valley Art School for returning veterans who used their GI Bill benefits to pay tuition and living expenses. In addition to attracting beginners, mature artists who needed no training used the stipend to enable them to continue painting and drawing. Ribak, like Andrew Dasburg, offered no ideology to his students: “I’m not truly anything. I’m against everything. Damned abstract[ionist]s, realists, illustrators …” He condemned taking any single approach—he believed this would lead to academicism, an art of deadness, whether abstract or representational.

Ribak was well-acquainted with the work of the abstract expressionists and knew artists of the New York School. In the mid-1950s, Mandelman and Ribak sojourned in New York, then returned to Taos. From that time, Ribak developed the lyrical abstract expressionism that would occupy much of his subsequent career. Movement No. 1 and Movement No. 2 are examples. The flowing calligraphy evident in much of his work developed from decades of landscape drawings. His abstract paintings seem not to have come from cubism so much as out of his own preoccupation with working directly from nature.

Edited excerpt from David L. Witt, Taos Moderns: Art of the New (1992).
drawing Overall: 14 1/8 x 10 3/16 in. (35.9 x 25.8 cm) frame: 20 3/4 x 15 3/4 in. (52.7 x 40 cm)
Novelist Joseph Foster1966Louis Ribak
Louis Ribak (1903-1979)
LOUIS RIBAK (1903-1979), moved to Taos in 1944.

In his first show in eight years [Louis Ribak] reports from Mexico and the Southwest with added strength and color. There is new freedom with emphasis on forms as such rather than on objects ...

—New York Times, May 1954

Beginning with work that was included in the 1934 Venice Biennale and continuing with his social realist painting of the 1930s, Louis Ribak captured vibrant images of urban life with considerable power. He was making an important career when, in 1944, he abandoned New York for Taos with his wife, Beatrice Mandelman. Various reasons have been suggested for the move: Ribak’s health; John Sloan's suggestion that the couple move to New Mexico; and their general disenchantment with New York. All these were probably contributing factors, but, since there was a good deal of wanderlust in Ribak, perhaps he just needed a change. As curator Harry Rand observed in the catalog of a 1984 exhibition of Ribak’s late paintings,

Something entirely unsuspected gripped Ribak in the Southwest and he was never able to disenthrall himself from the heady solemnity of the landscape, its beauty or emotive potential.

Ribak's approach shifted from social realism to full abstraction during his Taos years. Much of his early Taos work consists of semi-abstract landscapes, artistically descended from the paintings of American artist Albert P. Ryder. In Ryders’ work there is a living aspect to the environment in which humankind is not isolated, but is instead an intimate part. Ribak seems to have brought this concept with him from New York but, under the powerful influence of contact with New Mexico's pueblos, it was dramatically reinforced, expanded, and adapted to the changed circumstances of his life. He had to change to meet the demands of the new environment. Mandelman later said, “We had to start all over again. We spent the first couple of years painting the landscape” as a means of coming to understand the West.

Highly respected by his peers, Ribak was looked up to by the Taos Moderns as “an elder compadre,” a role model. In 1947, he opened the Taos Valley Art School for returning veterans who used their GI Bill benefits to pay tuition and living expenses. In addition to attracting beginners, mature artists who needed no training used the stipend to enable them to continue painting and drawing. Ribak, like Andrew Dasburg, offered no ideology to his students: “I’m not truly anything. I’m against everything. Damned abstract[ionist]s, realists, illustrators …” He condemned taking any single approach—he believed this would lead to academicism, an art of deadness, whether abstract or representational.

Ribak was well-acquainted with the work of the abstract expressionists and knew artists of the New York School. In the mid-1950s, Mandelman and Ribak sojourned in New York, then returned to Taos. From that time, Ribak developed the lyrical abstract expressionism that would occupy much of his subsequent career. Movement No. 1 and Movement No. 2 are examples. The flowing calligraphy evident in much of his work developed from decades of landscape drawings. His abstract paintings seem not to have come from cubism so much as out of his own preoccupation with working directly from nature.

Edited excerpt from David L. Witt, Taos Moderns: Art of the New (1992).
drawing Overall: 20 x 14 in. (50.8 x 35.6 cm)
Indian on Galloping Horse, After Remington1976Fritz Scholder
Fritz Scholder (1937 - 2005)
print Overall: 30 1/8 x 22 1/2 in. (76.5 x 57.2 cm)
Indian With Pigeon1975Fritz Scholder
Fritz Scholder (1937 - 2005)
print Overall: 22 1/16 x 30 5/16 in. (56 x 77 cm)
Mystery Horse at Taos1978Fritz Scholder
Fritz Scholder (1937 - 2005)
print Overall: 14 15/16 x 22 3/8 in. (37.9 x 56.9 cm)
Untitledc. 1990Marsha Skinner
Marsha Skinner (b.1944)
painting 13 1/4 × 13 1/4 in. (33.7 × 33.7 cm)
Taos Mountain1972Hyde Solomon
Hyde Solomon (1911-1982)
painting Overall: 24 x 29 15/16 in. (61 x 76 cm)
Portrait of Toni Tarleton1973Will-Amelia Sterns Price
Will-Amelia Sterns Price (1907-1995)
Born in Denison, Texas, in 1907, Will-Amelia Sterns Price was a major figure in the development of Beaumont's art scene. This exhibition includes paintings and drawings by Sterns Price focusing on her time in Taos, New Mexico.

https://www.traveltex.com/attractions/will-amelia-sterns-price-mikes-road-to-taos
drawing Overall: 19 15/16 x 16 in. (50.7 x 40.6 cm)