The Taos art colony is an established art colony in Taos, New Mexico, by artists attracted by the rich culture of Taos Pueblo and beautiful scenery. Hispanic furniture art skills, lead work and more play a role in creating a tradition of multicultural artwork in the area.
In 1898, the visit of Bert Geer Phillips and Ernest L. Blumenschein to Taos was one of the first steps in the creation of the Taos Art colony and the Taos Artists Society. In addition to society, Mabel Dodge Luhan is instrumental in promoting Taos to artists and writers in his circle.
At the beginning of the 20th century, modern artists injected the area with new artistic energy, followed in 1950 by abstract artists. Taos supports more than 80 galleries and three museums. There are a number of organizations that support and promote the work of artists in Taos Pueblo and in the Taos region.
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Histori
Taos Pueblo
Located in the river valley of the Rio Grande, Taos Pueblo is the northernmost of the New Mexico pueblos. For nearly a millennium, the Taos Indians have lived there. It is thought that the pueblo was built between 1000 and 1450 AD, with some later expansions. Taos Pueblo is considered the oldest community inhabited continuously in the United States. Pueblo, in some places as high as five levels, is a combination of many private homes with regular walls. There are over 1,900 people in the Taos puebo community. Some of them have modern homes near their fields and live in their homes in pueblo during cold weather. There are about 150 people living in pueblo throughout the year. Taos Pueblo was added as a UNESCO World Heritage Site in 1992 as one of the most significant historical landmarks in the world; Other sites include the Taj Mahal, the Great Pyramid and the Grand Canyon in the United States.
Taos Pueblo artist
Ancient artistic traditions have been manifested in original crafts for generations; an important recognition to understand the aesthetic appeal attached to this field to Anglo-American artists. Making paintings with oil and watercolors is a new art form for Taos Pueblo that traditionally painted objects such as leather or inside buildings, such as on the walls of a kiva, but one that was embraced by artists such as Albert Looking Elk, Albert Lujan, Juan Mirabal and Juanito Concha. They provide realistic artwork from the Native American lifestyle in contrast to Anglo-American romantic depictions. Traditional design elements are formalized in the Santa Fe Indian School, which defines Native American art.
Juanita Suazo Dubray, a lifelong resident of Taos Pueblo, is a Native American tenant. In 1980, at the age of 50, Dubray began making pottery, establishing the tradition of their mother and ancestors. Dubray added a sculptural relief element with icons of corn, turtles, lizards, and kiva steps in relief; The original corn design is the most familiar symbol. Lori "Pop Wea" Tanner (died 1966) is also a famous potter from Taos Pueblo
Pop Chalee, also known as Merina Lujan and "Blue Flower" (1906-1993), was the daughter of a man from Taos Pueblo; her mother of Swiss descent. In the 1920s he attended the Santa Fe Indian School and at Dorothy Dunn studio in 1930 from the same school. Multi-talent, Chalee is a mural and art teacher; he also works in radio and film industry.
Hispanic artwork
In the late 18th and early 19th centuries, it was very expensive to send furniture to New Mexico. Hispanic carpenters are built, with great artistry, cajas (storage crates), harineros (oats), trasteros (kitchen cabinets) and other furniture. The work is generally carved and painted brightly.
Tinwork is also made with material brought from Mexico and sometimes along the Santa Fe Trail. Significant growth in tin work occurs, though, once the train is opened. At first, much of the work of tin was in the form of religious and devotional objects. At the turn of the 20th century, tins makers created sconces, lanterns, and jewelry boxes.
Assigned by churches and individuals, the artists created sacred images called Santos from Roman Catholicism. PatrociÃÆ' Â ± o Barela (1900-1964) makes a secular work that greatly influences contemporary santeros. His work, featured at the Museum of Modern Art in New York with another artist from the Federal Art Project, was the first Mexican American artist to receive national recognition.
In addition to the Taos museum, Martinez Hacienda, a fortress occupied by the family of Padre Martinez in the 19th century, provides examples of the integration of the Spanish artistic movement and Pueblo in retablos (santos painted on flat wood pieces), bultos (carved santos) of wood and sometimes painted), as well as tin, jewelry, and baskets.
Maps Taos art colony
Art colony
Taos Society of Artists
Bert Geer Phillips and Ernest L. Blumenschein came to Taos, New Mexico as part of a tour of the western United States, but after seeing Taos decide to stay.
An article with a picture by Blumenschein about the ceremony at Taos Pueblo appeared in the July 10, 1898 edition of Harper's Weekly.
Within a few years, other American and European artists joined them in Taos: Joseph Henry Sharp, W. Herbert Dunton, E. Irving Couse, and Oscar E. Berninghaus. These six artists are charter members of the Taos Society of Artists.
The Taos Society of Artists works marks the beginning of the art colony of Taos, an innovative association of well-trained painters in Europe gathered around Taos Pueblo that is visually spectacular in the Southwest United States. Founding members cultivated the emergence of the main school of American paintings. Unlike the 'school' or other styles that emerged around the turn of the 19th century in the United States, the early artists of Taos Colony were not united in a single manifesto or aesthetic mode, but were both captivated by the amazing. and, until now, an alien environment.
Mabel Dodge Luhan
Many artists are drawn to Taos because of the presence of Mabel Dodge Luhan, a rich heiress from Buffalo, New York who has run a leading art salon in Florence, Italy and Manhattan, New York, before settling in Taos in 1917. After the two divorced their spouses, Mabel Dodge married a native of Pueblo, Antonio Lujan, and built a house. She spelled her married name "Luhan" because it was easier for her friends to say it.
While in the Southwest, Luhan continues the European salon tradition in its latest iteration. For decades, he invited artists, writers, and other figures to be inspired by Taos and each other. Among them are Ansel Adams, Georgia O'Keeffe, Alfred Stieglitz, author D. H. Lawrence and his wife, Frieda von Richthofen. Artist Dorothy Brett came to Taos in 1924 with his friends D.H. Lawrence and Frieda von Richthofen and then settled there permanently.
Georgia O'Keeffe settled in New Mexico in the era of Mabel Dodge Luhan, but most kept his distance, with Mabel's disappointment. He lived in one of Mabel's homes in Taos in the summer of 1929 with Rebecca Strand, Paul Strand's wife, painting the country around Taos and get to know the country. According to Calvin Tomkins, in an interview in 1974, "She prefers Mabel Dodge Luhan - amuses her, even when Mabel is in her worst bullying Mabel and Dorothy Brett, the painter, and Frieda Lawrence, who have settled near Taos after DH Lawrence died, in 1930, engaging in a triangular dispute, they all idolized Lawrence, and each considered himself in the real way - a situation that reached a crazy height during their protracted quarrel over Lawrence's ashes, preventing Mabel from stealing and scattering his ashes (as Lawrence had expected), Frieda finally made them mixed with a ton of concrete and formed a block. "The bloc stays at DH Lawrence Ranch above Taos.
Andrew Dasburg
Andrew Dasburg born in Paris (1887-1979) was one of Luhan's earliest friends to come and live in Taos. He first came to Taos in 1918, and moved to Santa Fe, New Mexico in 1921, when he integrated the traditional box-shaped construction style in New Mexico into the art of Cubism. In Taos, Dasburg became a mentor for a group of artists known as "Taos Moderns". A leader in the Cubist movement, his works are in the collection of the Whitney Museum of American Art, the Metropolitan Museum of Art and the Denver Art Museum, among others.
D.H. Lawrence
Inspired by area and artist, D. H. Lawrence (1885-1930) painted while in Taos, signed his work "Lorenzo"; The nine paintings are featured at La Fonda Hotel in Taos Plaza.
Georgia O'Keeffe
A friend from D.H. Lawrence, Georgia O'Keeffe (1887-1986) began spending the summer with Lawrences beginning in 1930. O'Keeffe's inspiration caused Lawrence to discover that he had a talent for painting as well. He made the colorful and colorful foliage and bone paintings collected during a walk in the desert. In 1940, he bought his first house in New Mexico. Her husband, Alfred Stieglitz, preferred to live in New York, O'Keeffe spent most of her time with her. After his death in 1946, O'Keeffe moved permanently to his home in New Mexico, in an area known as Ghost Ranch, and then built a house in Abiquiu, New Mexico.
Nicolai Fechin
Like Lawrence, Russian artist Nicolai Fechin (1881-1955) suffered from tuberculosis and found Taos useful for managing his health. In 1927, Fechin moved to Taos with his wife and daughter. For a while they lived with Luhan, but soon bought a renovated adobe house into a beautiful, unusual house with Russian wood carvings, now a Taos Art Museum.
Ansel Adams
Ansel Easton Adams (1902-1984) is a photographer, best known for his black-and-white photographs from West America. In 1930, Taos Pueblo, Adams's second portfolio, was published. In New Mexico, he was introduced to figures from the Alfred Stieglitz circle, including Georgian O'Keeffe painter, artist John Marin, and photographer Paul Strand, all of whom created famous works during their stay in the Southwest.
Other early 20th century artists
Cordelia Wilson, an artist from Georgetown, Colorado develops his skills as an artist motivated by the latest trends in American realism led by Robert Henri. His academic training emphasizes the development of prima and painting techniques outside the door, which inspires him to produce a bold impasto quickly. He began making land travel to New Mexico and making friends with painters at the Taos Society of Artists and Santa Fe art colony. Many of his expressive oil sketches and the en plein canvas from adobe dwellings and rugged landscapes attract the attention of art dealers.
Rebecca Salsbury James (1891-1968) was largely self-taught artist, though, after coming to Taos he was influenced by a friend, Georgia O'Keeffe. He is best known for his work with oil overturned on glass and also works in oil, pastel and other forms of Spanish folk art, embroidered colcha.
Ouray Meyers, an artist of Taos, is the son of Ralph Meyers who is an artist, writer and trader who befriends members of the Taos Society of Artists, such as Joseph Henry Sharp and W. Herbert Dunton; He is also a friend of Leon Gaspard, Nicolai Fechin, Dorothy Brett, and Georgia O'Keeffe. As a child, Ralph Meyers meets with artists who often visit his parents' homes. Meyers developed his own unique style, influenced by early Taos painters.
Post-war modernism
Taos Moderns
In the 1940s a group of artists, some of whom had studied contemporary modernist European and American art under G.I. bill, come to Taos. Arriving from cities like New York and San Francisco which were central to the abstract paintings that emerged after World War II, they transformed Taos into a den of contemporary art. These artists are known as "Taos Moderns" and include Thomas Benrimo, Louis Leon Ribak and his wife Beatrice Mandelman, Agnes Martin, Clay Spohn, Robert Ray, and Edward Corbett. Other visiting artists include Richard Diebenkorn, Mark Rothko, Ad Reinhardt, Clyfford Still, and Morris Graves. Andrew Dasburg came to Taos and became a mentor for many new artists.
Like previous artists, they portray the colorful New Mexico landscape and cultural influences, such as "the absence of time they feel in the Puebloan culture and the deep connection with the land they record in the daily lives of Native American and Hispanic peoples influencing experiments and innovation in its own art. "Instead of capturing realistic images of people and landscapes, they try to capture the true meaning of their subject.
Other postwar artists
Other postwar artists such as R. C. Gorman and Bill Rane also made Taos their home.
R. C. Gorman (1931-2005) is an internationally renowned artist of the Navajo Nation, sometimes called "Picasso" of the American Indian Arts. Even so, he was not accepted by the entire Taos art colony. Gorman opened "The Navajo Gallery" in 1968 on historic Ledoux Street, the first art gallery owned by Native Americans in the United States. It contained a large amount of his work and the work of several local Taos artists. Gorman is an art collector, like the works of European masters Picasso and Chagall, and local artists, such as Bill Rane, whose work Gorman identified as his favorite of the artist colony.
Bill Rane (1927 - 2005) is an artist and gallery owner of Taos. Historic Taos Gallery is run by his widow, Judith Rane. Bill Rane was born in Oregon, grew up in Idaho, and studied art and literature at San Francisco State University and the University of California, Berkeley. Rane lived and worked in the Bay Area of ​​California until he moved to Taos, where he remained until his death in 2005.
Organization
Taos Art Association
In the 1950s a group of Taos artists decided to form the Taos Art Association (TAA). They bought Manby estate and turned the house into an art gallery and in the outdoor community theater parks. In 2000, the Taos Art Association (TAA) became the Taos Art Center (TCA). This is the oldest non-profit art organization in the state of New Mexico.
Taos Artist Organization
Taos Artist Organization is a group of 140 artists living in Taos and working in various creative media.
Taos Gallery Association
Taos has over 80 private art galleries.
Artist Taos Pueblo
The contemporary indigenous artist Taos Pueblo makes handmade items using methods handed down from generation to generation of family craftsmen. Modern interpretations of traditional art are reflected in their sculptures, paintings, and jewelry. For centuries Taos puebo craftsmen have created spawn pottery; now, the pottery is made with high paint. Also produced in pueblo are leather moccasins and brown leather drums.
Museum
Harwood Museum of Art
Harwood Museum of Art in Taos has a permanent collection of more than 1,700 works of art and 17,000 photographic images. The collection of works from the 19th century to the present reflects the cultural heritage and influence of the artistic community of Taos. The categories of works include: Hispanic, Taos Society of Artists, Taos Modern, Contemporary, and Prints, Pictures and Photos.
Millicent Rogers Museum
Millicent Rogers Museum is a collection of cultural goods of Southwest India. Millicent Rogers plays an important role in the promotion of Native American culture. The collection is made of artwork that includes woven, kachina, pottery, baskets, tin works, and contemporary art. In the early 1980s the museum held works of the Hispanic art movement, the first major cultural organization in New Mexico to do so. Millicent's mother, Mary B. Rogers, is generous to many works of Indian Pueblo.
Paintings by artist Pueblo Albert Looking Elk (Martinez), Albert Lujan, Juan Mirabal, Juanito Concha, and other Pueblo artist's works are included in the Museum's collection.
Taos Art Museum
The Taos Art Museum and Nicolai Fechin House are largely a collection of paintings by members of the complete and associate association of the Taos Senate. It is housed in the former home and studio artist Nicolai Fechin.
Note
References
- Alinder, Mary; Stillman, Andrea; Adams, Ansel; Stegner, Wallace (1988). Ansel Adams: Letters and Pictures 1916-1984. Boston: Little, Brown. ISBNÃ, 0-8212-1691-0.
- Bleiler, L; Muse of the Southwest (2011) Society. Taos. Image of America. Charleston: Arcadia Publishing. p.Ã, 75. ISBNÃ, 978-0-7385-7959-7.
- Farris, P, ed (1999). Female Artists of Color: A Bio-critical Sourcebook for 20th century artists in America. Westport: Greenwood Press. p.Ã, 13. ISBNÃ, 0-313-30374-6.
- Flynn, Kathryn A. (1994). Treasure on the New Mexico line: discover New Deal art and architecture. Sunstone Press. ISBN 978-0-86534-236-1.
- Hassrick, P; Cunningham, E; Blumenschein, E (2008). In Contemporary Rhythm: The Art of Ernest L. Blumenschein. University of Oklahoma Press. p.Ã, 31. ISBNÃ, 978-0-8061-3937-1.
- Lester, Patrick D. Directory of Original American Painters' Biographies. Norman and London: The Oklahoma University Press, 1995. ISBNÃ, 0-8061-9936-9.
- Luhan, M (1987) [1937]. The edge of the Taos Desert: Escape to Reality. University of New Mexico Press. p.Ã, 120. ISBNÃ, 0-8263-0971-2.
Further reading
- Dick, R. H. My Time There is: Santa Fe & Art Collectibles Taos, New Mexico, 1956-2006 . St. Louis Mercantile Library, 2007. ISBNÃ, 978-0-9639804-8-9
- Schimmel, Julie; White, Robert R. Bert Geer Phillips and Taos Art Colony . Univ of New Mexico Press; Issue 1 (June 1994). ISBNÃ, 0-8263-1444-9
- Shipp, Steve. American Art Colony, 1850-1930: Guide to the History of Native American Art Collections and Their Artists . Greenwood Press, 1996. ISBNÃ, 0-313-29619-7
- Witt, David L. Modernist in Taos: From Dasburg to Martin . Red Crane Books, 2002. ISBNÃ, 978-1-878610-78-2
External links
- Taos as Art Colony: From Taos Society of Artists to the Present
- Taos Pre 1940
Source of the article : Wikipedia
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