Sign on
gPowered byeMuseum

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
Tranquility (No. 1)c. 1964Barbara Harmon
Barbara Harmon (b.1927)
drawing Overall: 13 3/8 x 24 in. (34 x 61 cm)
Tres Tecolotes1988 photography piece: 22 × 25 1/2 in. (55.9 × 64.8 cm) image (mat): 17 × 20 1/2 in. (43.2 × 52.1 cm) image (support): 26 × 30 in. (66 × 76.2 cm)
Untitledc. 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 9/16 x 11 13/16 in. (42 x 30 cm)
Untitledc. 1960Louis Ribak
Louis Ribak (1903-1979)
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)
Untitled1980Ronald Davis
Ronald Davis (b. 1937)
print Overall: 22 7/16 x 15 3/16 in. (57 x 38.5 cm)
Untitled1952Edward Corbett
Edward Corbett (1919-1971)
drawing Overall: 18 1/8 x 11 15/16 in. (46 x 30.4 cm)
untitledc.1953Edward Corbett
Edward Corbett (1919-1971)
drawing Overall: 26 1/4 x 17 15/16 in. (66.6 x 45.5 cm) not sure: 26 1/4 x 17 15/16 in. (66.6 x 45.5 cm)
Untitled1994Vija Celmins
Vija Celmins Latvia (b. 1938)
Vija Celmins is an important[1][2] Latvian-American visual artist best known for photo-realistic paintings and drawings of natural environments and phenomena such as the ocean, spider webs, star fields, and rocks. Her earlier work included pop sculptures and monochromatic representational paintings. Based in New York City, she has been the subject of over forty solo exhibitions since 1965, and major retrospectives at the Museum of Modern Art, Whitney Museum of American Art, Los Angeles County Museum of Art, Institute of Contemporary Arts, London, and Centre Pompidou, Paris. https://en.wikipedia.org/wiki/Vija_Celmins
drawing Overall: 9 13/16 x 11 13/16 in. (25 x 30 cm)
Untitledc. 1930Nicolai Fechin
Nicolai Fechin (1881-1955)
drawing Overall: 16 15/16 x 12 5/8 in. (43 x 32 cm) frame: 23 3/4 x 19 1/2 in. (60.3 x 49.5 cm)
Untitled1994Kevin Cannon
Kevin Cannon United States (b. 1948)
http://www.kevincannon.com/bio.html
and
Originally from New York, the artist studied art and music at City College of New York before traveling in Europe, Spain and Morocco. He then worked with a group of craftsmen in New York where his continued exploration in leather as a material lead him to pursue harness-and-saddle in the early 1970’s and inspired him to head West.
It was in 1978 that Kevin Cannon found his way to Taos, New Mexico. There he developed an interest in ceramics while working as assistant to the renowned West Coast ceramist and printmaker, Ken Price. The hand-sewn leather objects he had been crafting became small box/objects beautifully made, with colored interiors and handles.
After moving to back New York City in 1983 the artist had several gallery shows of his small scale geometric "figures" made from molding wet leather around a wooden form. Finely crafted, the burnished and polished leather has the appearance of ceramics or wood, even bronze, and invites close scrutiny and wonder. During this time he was an NEA recipient and continued to exhibit the work in New York City, Los Angeles,
San Francisco, Atlanta, Chicago and Houston as the scale became larger and the surfaces more intriguing. In 1990 he returned to Taos where he now lives and works.
In 1996 independent curator Jan Adlmann included Kevin Cannon’s work in the show, "Contemporary Art In New Mexico", at SITE Santa Fe. Cannon’s work can be found in the permanent collections of the Brooklyn Museum, the Harwood Museum in Taos, and the Albuquerque Museum, to name a few.

Citation: http://www. www.artnet.com
drawing image: 8 1/2 x 10 7/8 in. (21.6 x 27.6 cm)