| Offering to My Dead||1980||Douglas Johnson|
Douglas Johnson's intimate gouache paintings not only reflect the craft of Native American miniaturists but also represent the life and imagery of Northern New Mexico. Born and raised in Portland, Oregon, Johnson is essentially self-taught. His interest in the Southwest began in college when he became a Volunteer in Service to America (VISTA), a government program designed to improve living conditions for the poor in our Country. He was assigned to the Navajo Indian Reservation and quickly fell in love with its rich culture. Although he had been painting and drawing most of his life, it was this experience that inspired him to focus his talents, ultimately resulting in his permanent relocation to New Mexico.
Johnson admits that many of his paintings have their roots in Navajo art. He has, however, been very careful to remain faithful to and nurture the integrity of Native American culture. In fact, he believes that much of his ability comes from his, "first-hand experience living with the Indians and...know[ing] a lot of details of their lives."
Johnson was especially influenced by the work of Harrison Begay of the Dorothy Dunn School. Johnson states, "I started copying his prints. It's why I paint in the flat style, so geometric and linear." Indeed, his small, highly detailed paintings glow with jewel-like colors and hard-edged lines.
In addition to Native American culture, nature has proven to be a significant influence. Johnson learned by, "examining light and shadow, weather, color, flowers, the birds... it's all out there." In fact, as part of an effort to isolate himself and to be closer to Chaco Canyon, the site of many Anasazi ruins, he built a rock house on the side of a cliff near Coyote, New Mexico. The home has no plumbing or electricity. It is Johnson's desire to live as closely to his subject as he possibly can. Much of his own life and environment can be found in his paintings, a testament to his sincerity and to his subject matter.
Johnson has been exhibiting his paintings extensively for years. However, he attributes his success to the experience of painting. "As I paint things over and over, the flowers, the birds, the people, I hope they get deeper and more complex as I see them better. When you paint something, you learn about it, and the more you paint, the more you look, the more you learn."
||sheet: 30 x 22 1/2 in. (76.2 x 57.1 cm)
frame: 33 3/4 x 26 1/8 in. (85.7 x 66.3 cm)|
| Our Studio - Harwood||1927-1928||Howard Cook|
(1901 - 1980)
||Overall: 8 15/16 x 12 9/16 in. (22.7 x 31.9 cm)
frame: 14 1/4 x 18 1/4 in. (36.2 x 46.4 cm)|
| Pastorale||1955||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: 22 1/4 x 15 15/16 in. (56.5 x 40.5 cm)|
| Phil Crazybull, Corrales, New Mexico||2003||
||Overall: 17 1/2 in. x 22 3/4 in.|
| Picuris||1948||Andrew Dasburg|
||Overall: 16 15/16 x 17 11/16 in. (43 x 45 cm)
Framed: 24 11/16 x 29 3/16 in. (62.7 x 74.1 cm)|
| Points of Entry||1984||Ginger Mongiello|
||Overall: 22 1/16 x 22 1/16 in. (56 x 56 cm)|
| Portrait of a Spanish American Woman||1952||Andrew Dasburg|
||Overall: 21 7/16 x 14 3/16 in. (54.5 x 36 cm)|
| Portrait of Toni Tarleton||1973||Will-Amelia Sterns Price|
Will-Amelia Sterns Price
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.
||Overall: 19 15/16 x 16 in. (50.7 x 40.6 cm)|
| portraits||1930s||Nicolai Fechin|
| Pueblo Mud Head Mask||1989||
||Overall: 14 1/2 in. x 14 1/2 in.|