| #2. Mountains at Llano||1922||Ralph M. Pearson|
Ralph M. Pearson
(1883 - 1958)
Ralph Mosher Pearson was born on May 27, 1883 in Angus, Iowa. He studied at the Art Institute of Chicago with C. F. Browne and John Vanderpoel. In 1913, at the New York Armory, the American public was invited to see for the first time a large-scale exhibition of the work of the modern movement. Pearson traveled from Chicago for what was to prove to be for him a change of direction and an enlargement of vision. in 1914, he found 'the first school of modern art in this country, taught by Hugo Robus,' and where he was to 'inaugurate a painful unlearning and relearning process of some eight years' duration which was a cheap enough price to pay for a basic reorientation.'
Pearson moved to northern New Mexico in the 1920s. He also spent time in California, exhibiting at the Stendahl Gallery in Los Angeles in 1923. He settled in East Gloucester, Massachusetts and finally in Nyack, New York. Pearson was a full member of the Art Students League of Chicago, the Chicago Society of Etchers, the New York Society of Etchers, California Art Club, the California Society of Etchers and the Brooklyn Society of Etchers.
Ralph M. Pearson died in South Nyack, New York on April 27, 1958.
||10 x 14 3/4 in. (25.4 x 37.5 cm)
image: 10 × 14 3/4 in. (25.4 × 37.5 cm)|
| (Landscape) The Jewel||1987||Barry Dinowitz||
||Overall: 30 1/8 x 22 1/16 in. (76.5 x 56 cm)|
| 9-11||c. 2000||Eli Levin|
(United States, born 1938)
Born 1938 in Chicago, Illinois, Levin attended Diploma, Music and Art High School in New York City. In 1961 after receiving his B.A. in Literature at New School for Social Research, New York, Levin moved to Boston. There he was expelled from the Museum School’s graduate program for both experimenting with egg tempera (an early Renaissance medium) and painting too realistically. One of his professors had insisted that Levin paint abstractly with oil or he would flunk him. In 1964 Eli Levin moved to New Mexico where the art scene was relaxed enough to accomodate Levin’s desire to pursue figurative painting. When he arrived in Santa Fe, the old art colony had all but disappeared, but he became friends with Louie Ewing and Arthur Haddock who made him feel as though he were a contiguous part of the New Mexico tradition. He briefly went to University of Wisconsin in Madison in 1965 to finish his M.A. in Art. In 1991 Levin returned to school to get an M.A. in Humanities at St. John’s College, Santa Fe. In 1993 Eli Levin changed his name to Jo Basiste, after his paternal grandfather. At this time he abandoned his bar scenes and starting painting mythological subject matter. Levin has been an art critic for several newspapers, including the Albuquerque Journal North, the Santa Fe Reporter and the Philadelphia Enquirer. Since 1985 to the present, he has held an etching workshop at his studio.
Levin is best known for his bar and dance-hall scenes of social commentary. These paintings are full of color with a distortion of form to express humanity satirically. His work has been influenced by the Mexican painter, Diego Rivera, American painters Thomas Hart Benton and John Sloan among others.
||Overall: 8 x 11 in. (20.3 x 27.9 cm)|
| A Grey Day||n.d.||Beatrice Mandelman|
(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.
||13 × 40 1/4 in. (33 × 102.2 cm)|
| A Lost Lady||1983||
| A Map to Heaven||2001||Jaune Quick-to-See Smith|
Jaune Quick-to-See Smith
||Overall: 39 x 33 7/8 in. (99 x 86 cm)|
| A Morning in April||1967||Gene Kloss|
Born in Oakland, California, in 1903, Kloss grew up in the Bay Area. She attended the University of California at Berkeley, where she studied with Perham Nahl, her instructor in life class and anatomy, who also gave a course in etching. Amazed by the first print she pulled from the press, Nahl predicted she would be an etcher. Kloss spent two additional years of study at the California School of Fine Arts in San Francisco and the College of Arts and Crafts in Oakland. In 1925 she married Phillips Kloss, a poet, and they made a honeymoon journey to New Mexico. It was a decisive point in Kloss’s career, initiating a lifelong fascination with the the landscape of the Southwest and the Native American peoples who inhabited the region.
National Museum of American Art (CD-ROM) (New York and Washington D.C.: MacMillan Digital in cooperation with the National Museum of American Art, 1996)
Gene Kloss and her husband, the poet Phillips Kloss, were notable figures in the Anglo community of Taos. The couple visited the area in the 1920s while on their honeymoon, and looking back on her first experience of a vibrant southwestern sunset, Gene wrote that “I was a New Mexican from then on.” The Klosses lived in Berkeley, California, in the cold months and returned every summer to Taos until they settled there permanently. Phillips crafted poems while Gene produced etchings and paintings of the Pueblo communities and spectacular landscapes. They chose homes that offered inspiring views from every window, and Gene wrote that “An artist must keep in close contact with nature and man’s fundamental reliance on nature in order to produce a significant body of work.” (Bradley, Gene Kloss: Graphic Works from Six Decades, 1984)
||11 × 14 in. (27.9 × 35.6 cm)
sheet: 13 3/4 × 18 in. (34.9 × 45.7 cm)|
| A Place in the Sun||c. 1930||B.J.O. Nordfeldt|
||Overall: 15 x 22 1/8 in. (38.1 x 56.2 cm)|
| A Pushkin "Evgeny Onegin"||n.d.||Fyodor Konstantinov|
||Overall: 7 5/16 x 5 1/2 in. (18.5 x 14 cm)|
| A Pushkin "Evgeny Onegin"||n.d.||Fyodor Konstantinov|
||Overall: 3 15/16 x 5 5/16 in. (10 x 13.5 cm)|