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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
Le Retour d'Ulysse1992Earl Stroh
Earl Stroh United States (1924-2005)
Buffalo, NY
drawing Overall: 30 x 21 in. (76.2 x 53.3 cm) frame: 36 1/2 x 28 in. (92.7 x 71.1 cm)
Little Girl1930Barbara Latham
Barbara Latham United States (1896 - 1989)
“I had lived under the brilliant western sky all summer, but I had never experienced such brilliance, contrasted with such fragrant desert. … I loved Taos from the moment I stepped off the train.” "I’ve been very happy here." "And I’m still having fun with my art."

Known as an accomplished painter, printmaker, and children’s book illustrator, Barbara Latham had idea of her life’s creative trajectory from an early age. At eight years old Barbara Latham won a scholarship to attend a weekend drawing class, and it sparked the young girl’s innate love of art. Shortly after high school, Latham began her more serious artistic studies at the Norwich Academy and Pratt Institute in New York City, as well as summer workshops with Anderw Dasburg at the Students League Summer School in Woodstock, New York. After a corporate stint on Madison Avenue making greeting cards, Latham relocated to the art colony of Taos, New Mexico.

It was in Taos that Latham would meet her eventual husband and fellow artist, Howard Cook. The two were introduced through Victor Higgins, and enjoyed a nurturing partnership spanning more than fifty years. The two traveled extensively through South America, Mexico, and Europe, largely the result of Cook’s Guggenheim Fellowship awards in 1932, and again in 1934. It was from these new, exotic vistas that the couple gathered unfamiliar subject matter and expanded their techniques. Much of what went into Latham’s first children’s book, “Pedro, Nina, and Perrito,” was cultivated during these travels.

In 1938, Latham and her husband purchased a home in Talpa, New Mexico. It was to become the base for a prolific artistic output, featuring everything from playful community scenes to wildlife, and landscapes in her signature stop-action style. Some of Latham’s most notable works include: “View from Our House in Talpa,” “Decoration Day,” “Tourist Town, Taos,” “Getting Ready for the Rabbit Hunt,” and “Rio Grande in the Spring.”

In 1967 the couple lived seasonally in Roswell, New Mexico, after Cook was awarded with the first artist-in-residence at the newly conceived Roswell Museum. By 1976, Howard Cook’s health was failing to the point where the couple relocated once more to a retirement home in Santa Fe. After her husband’s passing in 1980, Latham continued to travel and paint until her own passing in 1989.

https://sites.google.com/site/parsonsartists/home/barbara-latham
print Overall: 24 x 20 in. (61 x 50.8 cm)
Lucinda of Taosc. 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: 12 5/8 x 11 in. (32 x 28 cm)
Man, The Slave of Machinesc. 1939Helen 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

print image: 11 1/4 × 9 1/16 in. (28.6 × 23 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)
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)
New Hudson Bridge1932Howard Cook
Howard Cook United States (1901 - 1980)
print Overall: 17 1/8 x 12 5/8 in. (43.5 x 32 cm)
'New Mexico' Band for Cup1978Ken Price
Ken Price (1935 - 2012)
drawing Overall: 9 1/2 x 4 in. (24.1 x 10.2 cm)
New Mexico Village Under Snow1950Kenneth Adams
Kenneth Adams United States (1897-1966)
http://kennethadamspaintings.com/

print Overall: 16 1/8 x 11 13/16 in. (41 x 30 cm) mat: 16 1/8 x 20 in. (41 x 50.8 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"