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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.

Sorted AscendingTitleDateArtistClassificationDimensions
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)
Andrew Dasburgc.1950Helen Greene Blumenschein
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

drawing 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)
Apachec. 1930Joseph Imhof
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/
print Overall: 13 3/4 x 10 1/4 in. (35 x 26 cm)
Arapahoc. 1930Joseph Imhof
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/
print Overall: 16 1/8 x 11 13/16 in. (41 x 30 cm)
Back Street Taos1975David Michael Kennedy
David Michael Kennedy
Working in New York in the 1970s and 80s, Kennedy developed a successful career in advertising, editorial, album cover and portrait photography. In 1987 he realized a long standing dream when he left New York and moved with his family to northern New Mexico where he began to produce an intensely personal and captivating body of work based on the spectrum of the southwest.

https://www.snapgalleries.com/portfolio-items/david-michael-kennedy/
photography Overall: 15 3/4 in. x 19 3/4 in.
Beneath the Cottonwoodsc. 1924E. Martin Hennings
E. Martin Hennings (1886-1956)
Painter, printmaker. After graduating from high school, Hennings left his native Pennsgrove, New Jersey, for five years of study at the Art Institute of Chicago. His training continued with two years at the Royal Academy in Munich. Fellow art students in Munich included Walter Ufer and Victor Higgins. In 1914, at the outbreak of World War I, Hennings returned to Chicago, where he made his living as a muralist and commercial artist. At the urging of former Chicago mayor Carter Harrison, Hennings spent a few months in Taos in 1917. Four years later, he made Taos his permanent home, joining the Taos Society of Artists in 1924. Hennings’s favorite subject was the Indian, whom he often posed singly or in groups against a bright foliage curtain. His compositions, featuring stylized line, decorative patterns, and warm colors, won him twelve national prizes between 1916 and 1938.


https://americanart.si.edu/artist/e-martin-hennings-2169
print Overall: 14 1/2 x 14 5/8 in. (36.9 x 37.1 cm) mat: 24 x 20 in. (61 x 50.8 cm)
Bensco (Red Houses)1938-1943Beatrice Mandelman
Beatrice Mandelman United States (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.

http://www.mandelman-ribak.org/beatrice_mandelman/biography.php
print 11 13/16 × 16 in. (30 × 40.6 cm)
Carnivalc. 1938Beatrice Mandelman
Beatrice Mandelman United States (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.

http://www.mandelman-ribak.org/beatrice_mandelman/biography.php
print 10 × 14 in. (25.4 × 35.6 cm)
Celebrate America!1976Marcia Oliver (M. Oliver)
Marcia Oliver (M. Oliver) (b. 1938)
print Overall: 23 1/16 x 25 9/16 in. (58.5 x 65 cm)
Churchc. 1955Ted Egri
Ted Egri United States (1913-2010)
Born into an artistic family in New York in 1913, Ted began painting in oil at the age of 7. His Hungarian immigrant parents insisted that their 3 children, Ted, Charles and Ruth pursue their own artistic talents. Lagos, his father, was a published writer who worked in the garment district of Manhattan, while Llona, his mother was a singer.

When he was 7, Ted began his art education at the Leonardo da Vinci School of Art in Manhattan. He began working with clay at age 10 and later won a 3 year scholarship to the Master Institute of the Roerich Museum in New York. He was then introduced to the Oriental Arts from China and Japan in which he learned the fundamentals of dynamic symmetry. His brother Charles became a successful commercial artist while Ruth, his sister, became a painter. In 1947, they had a joint exhibition, “The Three Egris,” in New York’s Roko Gallery.

https://fineartservices.info/gallery/ted-egri
print image: 9 7/16 x 12 in. (24 x 30.5 cm) sheet: 13 x 18 in. (33 x 45.7 cm)