Today art world minds are being blown all over the planet as Sotheby sells a 1982 skull painting by Jean-Michel Basquiat for 110.5 million last night. Basquiat is now the highest grossing American artist of all time. Pretty great for a street kid. Read all about it in this New York Times article.
Among the personal artifacts that will appear in our upcoming retrospective for Janet Lippincott (1918-2007), there’s a scrapbook filled with newspaper clippings. The folio of yellowed papers chronicles a tipping point in the New Mexico artist’s career—and the many wonders that came after—but it’s not the whole story. For the first half of Lippincott’s life, success was obscured behind considerable hurdles on the long path ahead. And yet, there’s one constant that carried her through. It’s visible in the portraits scattered through Lippincott’s scrapbook: a fiery, direct stare that never wavered.
On Friday, December 2 from 5-7 pm, Matthews Gallery debuts Janet Lippincott: A 70-Year Retrospective. The artwork and artifacts on display will complete the picture of an artist who was defiantly prolific long before she received recognition. Lippincott had a vision for her life, and it remained unmarred despite injuries and setbacks.
Lippincott was born in Brooklyn, New York, and exhibited artistic talent from an early age. Her family lived in Paris for part of her childhood, where she hungrily absorbed the aesthetic innovations of Picasso and Matisse. As a teenager, she studied at the Art Students League of New York, following in the footsteps of Georgia O’Keeffe and other modernists who would become art pioneers of the West. “I didn’t like to be told what to do,” she later recounted to a longtime art dealer. “So I quit that and I went off to war.”
As a member of the Women’s Army Corps during World War II, Lippincott served under General Eisenhower, and once put General Patton in his place when he barged into Ike’s office. During a German blitzkrieg of London, she broke her back when a building collapsed. Back in the States, she recovered and boldly embarked on her next adventure. Using the GI Bill, she traveled to Taos to study under Emil Bisttram.
“Bisttram told her flat out that she didn’t have what it took to be an artist,” wrote Westword in Lippincott’s obituary. “She spent the next half a century proving him wrong.” After furthering her studies in Colorado and California, she moved to Santa Fe for good. It was here that her career took off, with a series of group and solo exhibitions across the region in the 1960’s and 70’s. In 1972, Bisttram penned a positive review of her solo exhibition at Santa Fe’s legendary Jamison Gallery.
Lippincott had proved her point, never straying from the unapologetic ambition that marked her generation. Like O’Keeffe or Mabel Dodge Lujan, she was a New Woman of the West, who engaged in the gritty hand combat that led to sweeping social changes of the 20th century. Near the end of her life, she was awarded the New Mexico Governor’s Award for Excellence in the Arts, and the New Mexico Committee of the National Museum of Women in the Arts.
Join us for Janet Lippincott: A 70-Year Retrospective on Friday, December 2 from 5-7 pm to celebrate this pioneer of New Mexico modernism, and discover the art and artifacts that were the kindling for her inextinguishable passion. Click here to RSVP on Facebook.
From the early 1960s through the early 1970s, I lived on and off in New Mexico. In February 1963, at age nineteen, I left an upper middle-class Connecticut home to rent an uninsulated shack in Duran for $10 a month, and stayed until late March. In 1965, I returned to New Mexico to enroll in St. John’s College. In Santa Fe, with my friends Mac and Alan, I began exploring the City Different. This excerpt from “In Search of America” recounts my first meetings with artist Tommy Macaione.
Winter snow was melting the afternoon Alan rushed into our dorm and announced to Mac and me that he had discovered a great painter. He sat down on the edge of Mac’s bed. “He’s as good as Van Gogh. You’ve got to see him.”
He drove us down the hill to Canyon Road and parked in front of a one-story stuccoed house. A hand-painted sign above the front door read:
PAINTINGS – Tommy Macaione—El Differente
El Differente had a painting propped in his window, an intense landscape reminiscent of Van Gogh.
We jumped out of the car. Alan knocked on the screen door and Tommy called, “Wait! Wait!” Moments later he pulled the door open, and through the screen said, “I can’t let you in yet. I can’t let my babies out.” He pushed his dogs aside with his feet, all the while talking loudly to them. We entered a tiny living room empty of furniture but stacked with paintings. The paintings were in various stages of completion. They were painted with thick daubs and streaks of color, wild profusions of emotion. But on one wall he hung two conventionally rendered paintings—one of a pair of flamenco dancers, another of a pipe and a bowl with fruit. “I hang those,” Tommy said, “so that people will know that I can paint like that, if that’s what they want.”
A stench filled the room. Tommy’s clothes were covered with dog hair. His bed was covered with dog hair, the sheets and cover balled together. Empty dog food cans with bits of decayed meat lay on the floor next to dog turds. There were wet spots and stains where his dogs had peed.
Tommy had the title “El Differente” legally affixed to his name. And different he was. He was in his mid-fifties with a long unkempt beard, hideous breath, and hair that shot out in all directions. He was missing several teeth; those he had were brown and yellow.
“I’m having a terrible time,” Tommy told us, “I’m STARVING. Things are worse, Alan. I passed out just the other day and the day before that, too, I’m so hungry. I haven’t enough to even feed my babies.”
His eyes watered and he spoke frantically, in a rush.
“We can help you out, Tommy,” Alan told him. “How about coming up to dinner this evening?”
“Boys, do you mean it?”
“Sure we do,” Alan said.
“I love you boys,” he said, grabbing Alan and hugging him. “Can you drive me downtown? Do you have time? I have to get some bones for my dogs, they’re starving. God would be very angry with me if I let them die.”
“Sure,” Alan said, “let’s get in the car.”
Tommy sat up front with Alan. His smell sickened me. Mac and I rolled down our windows but the rush of air could not eliminate his odor.
We drove to a grocery store where Tommy walked to the meat department and returned with large bags filled with bones and meat scraps. Meanwhile, I bought a box of spaghetti, several cans of tomato sauce, Italian sausage, two loaves of bread, and a can of soup.
“This ought to hold you for a while,” I told him.
He cried and hugged me.
I was happy for him and envious of his intensity and dedication and lack of inhibition, but his sentimentality embarrassed me.
That night Alan brought him to the dining room, a large hall with balconies and clean light wood tables. The hall was clean, spare, modern. Tommy wore a torn corduroy coat with bulging pockets, baggy pants thinning at the knees, and old cracked shoes with knotted laces. With his wild hair and unkempt beard Tommy looked as out of place as anyone could. But we were proud of our find; after all, we were mingling with the townspeople.
That struck me as the big gap between us and the other students: they had little to do with the town. Their interests were in the program, themselves, and a handful of friends. We, on the other hand, lived only partly for St. John’s. You might say the books were for us a jumping off point, a different way of exploring the world, a kind of background to it. The real thing was life, people.
“God bless you boys, God bless you,” Tommy kept saying.
When Kyle our waiter told us the selections, Tommy said excitedly, ”You mean I can have a choice?”
Alan said, “Sure. And if you want more later you can have it.”
When Kyle brought our orders Tommy immediately pitched into his food, gobbling it and talking while he ate. “St. John’s is a great school, a great school. You boys are very lucky to be here. Me, I didn’t have a college education. I went to art school. I knew very early I wanted to be a painter.”
“Have you always made your living as a painter?” I asked.
“A living!” he practically screamed. “I can’t make a living at painting now!”
“Right,” I said.
“I was a barber for years, in New York. When I came to Santa Fe in fifty-three I was a barber.”
His fingers were greasy from picking up food with his hands. When bits of meat and vegetables became entangled in his beard, he did not notice.
“If you boys want to do me a favor,” he said loudly, his mouth filled with food, “something God will bless you for, get me a show at St. John’s.”
“All right,” Alan said, “we’ll do that.”
Periodically the college hung an art exhibit in a gallery on the balcony overlooking the dining hall. We arranged Tommy’s show through Colonel Deal, who crated the exhibits. We arranged to meet Colonel Deal at Tommy’s studio. Colonel Deal brought his station wagon and selected the paintings and we stacked them in his car and in Mac’s. We spent the afternoon hanging the show while Tommy walked around, jabbering excitedly, “God will bless you. I pray for you. You are good boys for doing an old man this kindness.”
We had Tommy to dinner several more times. For fifteen years Tommy had starved in Santa Fe. Whenever things got especially tough he took out a large ad in The Santa Fe New Mexican—the town paper—pleading for help. He traded paintings for the ads. Now he thought his fortunes were changing. He thought that with a show at St. John’s he would begin to attract wealthy buyers. He wrote prices of three and five hundred dollars on small cards in a scrawl and posted them next to the paintings. Then he scratched out those prices and scribbled in higher ones.
For days afterwards we spent hours with Tommy in Mac’s room before a tape recorder as he told us his life story and his theories of art. He wrote huge summaries of these in his large hand on greasy papers. All this was for a biography and artist’s statement, which we were to type up and photocopy and put in a stack in the gallery. We never wrote the biography or the statement. Tommy kept walking or hitchhiking up to St. John’s to see the show. Benevolence and gratitude changed to indignation. He railed at us.
“For two months now you’ve done nothing,” he would say. “That’s not right. You made a promise and if you’re gentlemen you’re supposed to stick to them.”
He was right.
“Wonderful place. You must come. Am sending ticket. Bring me a cook.” Mabel Dodge Lujan’s telegram to artist Andrew Dasburg is a seminal moment in New Mexico art history. Lujan, a prominent arts champion from New York, had fallen in love with the Taos art colony and was determined to summon artists there from the East. The efforts of Lujan and her counterparts in Santa Fe and Albuquerque sparked a great influx of modernist artists to the region, eclipsing the traditional styles that had reigned there in the late 19th century. Matthews Gallery’s exhibition THE MODERNIST IMPULSE: New Mexico’s 20th Century Avant-Garde, will tell stories of revolutionary artists throughout the previous century in a special rolling exhibition from September through October, 2015.
We’re working in concert with Georgia O’Keeffe Museum and New Mexico Museum of Art’s Fall of Modernism: A Season of American Art event series to trace the grand arc of New Mexico’s modernist history. Starting with Lujan’s circle, which arrived in the 1920s, and moving forward through the decades, we’ll examine the strong impulse of modernist artists to settle in New Mexico and revolutionize the art colonies here.
Over the course of the two-month show, Matthews Gallery’s walls will shift through time. Early Taos modernists will give way for the Taos Moderns movement, Santa Fe artist and art teacher Alfred Morang will pass the baton to students such as Janet Lippincott and William Vincent, and rays of influence from the revolutionary Transcendental Painting Group will stretch far beyond its short existence. Contemporary artist Eli Levin, who came to New Mexico in the 1960’s and knew many notable modernists, will round out the group.
Learn more about our contribution to Fall of Modernism on their newly launched homepage, and connect with us on Facebook, Twitter and Instagram for updates on the show.
Andrew Dasburg, April Snow 1967, Pastel on Paper.
Jan Matulka, Landscape circa 1923, Watercolor on Paper.
Cady Wells, Taos, 1947, Ink and Watercolor on Paper.
Eric G. Thompson‘s new series of contemporary realist paintings arrived yesterday. As we pulled them from the box one by one, silenced by their cool gravitas, we saw them in a whole new way. First came a solitary bird in a tree, silhouetted against a pale sky. Was he watching the pensive girl strolling through the field that emerged from the package next? Perhaps she was headed to the barn in the following image, where she’d sit and munch on the late-summer pear in the still life. It was as though we were opening an intricate matryoshka doll, with each picture adding a new layer of details to the story.
Light flows across Thompson’s canvases and panels like meditative thoughts, revealing an endless array of materials with diverse textures and reflective qualities. As a self-taught artist, Thompson learned to capture all of these effects through looking, painting and looking again. When you come to the opening reception for Eric G. Thompson: New Works at Matthews Gallery this Friday, August 14 from 5-7 pm, make sure to take just as much care as you ponder each composition (and perhaps find connections between them). Here’s a special preview:
Eric G. Thompson, The Watch, Oil on Linen
Eric G. Thompson, Santa Fean Girl, Oil on Linen
Eric G. Thompson, Freshly Mowed, Oil on Linen
Eric G. Thompson, A Pair, Oil on Linen
Eric G. Thompson, Winter Bones, Oil on Canvas
Eric G. Thompson, Over Lattes, Oil on Panel
Eric G. Thompson, Perch, Oil on Linen
Eric G. Thompson, Grace, Oil on Linen
Eric G. Thompson, Cool Morning, Oil on Panel
Eric G. Thompson, Bosc, Oil on Linen
Click here to see more of Thompson’s work, and connect with us on Facebook, Twitter and Instagram for more gallery news.
A sun bleached rocking chair, the wind weathered facade of an old house, and a pair of muddy gardening clogs. To the average viewer, these objects warrant little more than a casual glance. Utah artist Eric G. Thompson captures them in stunning detail with oil, watercolor and egg tempera paint, guided by a centuries-old Japanese aesthetic.
“Objects have spirit. An old cup is like a person,” says Eric. Like the characters of the objects, figures and houses he paints, Eric’s technique was refined through life experience. He is completely self-taught, and believes this process has led him to find a unique voice and vision, through perseverance, trial and error. A painter since 1989, he now resides in Salt Lake City, Utah and has been selling his work professionally since 2002. He paints from his travels and the treasures discovered along the way, deftly switching mediums depending on the mood he wishes to convey.
Eric’s artwork possesses an elegant serenity that often stops our visitors in their tracks. The allure lies in the way he plays with light, illuminating beautiful details but also revealing hints of entropy and decay. This careful balance between order and chaos is drawn from the Japanese aesthetic of wabi-sabi, a major influence on Thompson’s work. The tradition encourages appreciation of imperfection, age and patina, often referred to as “flawed beauty.”
Come delight in Eric’s perfect imperfection at ‘Eric G. Thompson: New Works‘, opening Friday, August 14 and running through August 28. Click here for more information, and connect with us on Facebook, Twitter and Instagram for more gallery news.
There are just a few days left to see WIDENING THE HORIZON: New Mexico Landscapes.
Read on to learn about one of our favorite featured artworks, and make sure to come see it
before the exhibition closes on June 30.
“Travel East to see the real West,” said Charles Lummis to Maynard Dixon. Dixon (1875-1946) was born on a ranch near Fresno, California. His friend and mentor Lummis was a journalist, photographer and poet who walked from Cincinnati to Los Angeles in 1884, a 2,200-mile journey that took him through New Mexico in the dead of winter. Despite the severe hardships of the journey, Lummis fell in love with the Southwest and became a staunch advocate for historic preservation projects and the rights of the Pueblo Indians.
Inspired by Lummis’ tales, Dixon set out on his own Southwestern adventure in 1900. In California, he had studied under tonalist painter Arthur Mathews and worked extensively as an illustrator, but the trip to Arizona and New Mexico swung his artwork in a new direction. He took a horseback ride through the West the following year and developed a heavy impasto style, capturing endless vistas with a vibrant palette. Back in San Francisco, he sold paintings and watercolors dressed in his cowboy uniform: boots, a bolo tie and a black Stetson.
The booming market for illustrations of the Wild West kept Dixon well-fed at the turn of the century. In 1905, he married artist Lillian West Tobey. The following years were wrought with calamity: most of Dixon’s early work was destroyed in the San Francisco earthquake of 1906, and a move to New York in 1907 left Dixon frustrated and uninspired. His return to San Francisco in 1912 ended his first marriage, but renewed his commitment to creating “honest art of the West”, free of the commercialism that influenced his previous work.
In the 1920’s, a new interest in modernism lead Dixon to experiment with post-impressionism and cubism. Dense details gave way to an elegant style. He built a reputation for paintings of spare landscapes dominated by infinite swirling skies. His pastel Love to Babette, a tribute to art patron and San Francisco socialite Babette Clayburgh, is an impeccable example of his mature work.
Dixon married legendary Western photographer Dorothea Lange in 1920, and they had two sons. In late 1931 and early 1932, they lived in Taos, New Mexico in a house owned by their friend Mabel Dodge Luhan. The Taos Society of Artists offered Dixon a coveted spot in their ranks, but he disagreed with their strict bylaws and declined. However, Dixon’s time in New Mexico was perhaps the happiest and most productive of his life. He completed over 40 canvases in his four months there, focusing on the residents of Taos and their complex relationship with the rugged terrain of the High Desert.
During the Great Depression of the 1930’s, Lange made some of her best-known images, documenting rampant poverty in the West. Dixon was in turn inspired to dabble in social realism. The couple was separated for a time when Dixon again took up Western painting in Utah’s Zion National Park and Mount Carmel, and divorced in 1935. Lange lived the rest of her years in Berkeley, while Dixon continued to travel through the West: to Montana, Nevada, Utah, Arizona and New Mexico.
San Francisco muralist Edith Hamlin became Dixon’s third wife in 1937, and they moved to southern Utah in 1939. From their summer home in Mount Carmel, Dixon continued to paint powerful scenes of the West until his death in 1946. His ashes were buried in Mount Carmel.
Learn more about Maynard Dixon on our website, and come see WIDENING THE HORIZON: New Mexico Landscapes now through June 30. Connect with us on Facebook, Twitter and Instagram for daily gallery news.
If a picture is worth a thousand words, what about a painting? For our exhibition WIDENING THE HORIZON: New Mexico Landscapes, we paired Southwestern landscape paintings with photographs of the places that inspired them. The results are fascinating, showing how artists interpret a setting based on style, sensibility and—particularly—sentiment. Explore the pairings below, and make sure to visit WIDENING THE HORIZON before it closes on June 30.
A glimpse of Middle Truchas Peak from Eli Levin‘s studio in Dixon, New Mexico.
This Alfred Morang painting may show artist Olive Rush’s garden on Canyon Road. Rush and Morang were close friends. Compare to the photograph at right.
Alice Webb‘s monotype of the iconic San Francisco de Assisi Mission Church in Taos, New Mexico gives us a sense of the surrounding landscape.
Eli Levin‘s interpretation of Abiquiu’s colorful rock formations.
Dorothy Morang paints a Santa Fe summer storm in watercolor.
Maynard Dixon‘s pastel of New Mexico’s dramatic cloud formations.
Mt. Carmel, Utah, according to Santa Fe artist Arthur Haddock.
Tommy Macaione brings out the purple and blue tones of a snowy Santa Fe street.
Barbara Brock‘s monotype of a Taos sunset.
Click here to learn more about WIDENING THE HORIZON: New Mexico Landscapes, and connect with us on Facebook, Twitter and Instagram for daily gallery news.
Santa Fe’s Summer of Color officially began on Memorial Day, and we’re busy preparing our contribution to the city-wide cultural celebration. This special collaboration between the city’s top museums, galleries, restaurants and hotels showcases the vibrant array of colors that the City Different has to offer. Many participants picked specific hues to feature: the International Folk Art Museum took red, the Museum of Indian Arts and Culture has turquoise and the Museum of Spanish Colonial Art settled on indigo and cobalt blue.
At Matthews Gallery, we decided to showcase an enormous array of colors for our special exhibition The Artist’s Toolkit: New Mexico Artists at Work. The show features rare artifacts of legendary New Mexico artists next to their work, giving visitors insight into the complex process of conceptualizing, mixing and applying color.
It’s a once-in-a-lifetime opportunity to view Tommy Macaione’s paint palette, William Lumpkins’ brushes, Alfred Morang’s notes on color, Arthur Haddock‘s pigment bottles and other behind-the-scenes ephemera from Santa Fe private collections.
Scroll down for a preview of these fascinating fragments from New Mexico history, and make sure to attend the opening this Friday, June 5 from 5-7 pm. Connect with us on Facebook, Twitter and Instagram for updates on Summer of Color.
Tommy Macaione’s Paint Palette
Leon Gaspard’s Easel
Arthur Haddock’s Pigment and Oil Bottles
NEW LANDSCAPES, NEW VISTAS: Women Artists of New Mexico ends on May 31st. Over the course of the exhibition, we’ve blogged about early women potters of New Mexico and their influence on women artists who migrated here. Here are the tales of four 20th century women who came from near and far to turn over a new leaf—or a new canvas—in the Land of Enchantment. Through their efforts, the Santa Fe and Taos art colonies were forever changed.
Beulah Stevenson (1891-1965) grew up in Brooklyn Heights, New York. After studying at the Pratt Institute, she enrolled at the Art Students League where John Sloan became her mentor. Sloan invited Stevenson to summer in New Mexico, where she was inspired to create modernist landscapes and wild abstract works in the vibrant palette of the Desert Southwest. She returned to New Mexico many times throughout her life.
Stevenson worked as a printmaker, painter, illustrator, art teacher and Brooklyn Museum curator. She was a staunch advocate of modernism and the avant-garde, working with the Federation of Modern Painters and Sculptors and numerous other artist organizations.
Ila McAfee (1897-1995) was born in Colorado, and first visited Taos on a road trip to California in 1926. She fell in love with the mountain village and its thriving art scene, and settled there with her husband Elmer Turner. They quickly befriended influential members of the Taos Society of Artists such as Blumenschein, Berninghaus, Hennings and Higgins. McAfee was a rare Western-born artist in Taos, where many artists were transplants from the East Coast. She captured the spirit of the West through her paintings of sweeping landscapes and the wild horses that roamed them.
Dorothy Morang (1906-1994) was born in Richmond, Maine. She met Alfred Morang in 1925, while studying at the New England Conservatory of Music in Boston. Alfred was a violinist and Dorothy a pianist. They married on June 13, 1930 and moved to Portland, Maine soon after.
The couple moved to Santa Fe in 1937 in an effort to alleviate Alfred’s tuberculosis. In the City Different, they landed in the center of a colorful circle of artists. They threw Saturday night salons at their home not far from Canyon Road and taught music and painting to make ends meet.
In addition to painting, Dorothy Morang worked for many years at the New Mexico Museum of Fine Arts, primarily as a curator.
In her three decades in Santa Fe, beginning in 1972, Doris Cross (1907-1994) was known as the City Different’s “most avant-garde artist.” An excerpt from a 1990 biography by Anna Christine Hansen traces the artist’s New York roots and her early days in New Mexico:
Doris Cross began her career in New York City with the Art Students League. After meeting Hans Hoffman, who was known for encouraging artists to investigate their own ideas and unique styles, she went to the Hans Hoffman School of Art. “Hans Hoffman was it,” Doris said of him as a teacher. “…The possibility of discovery! That was the important thing, discovery.” […]
In the mid-1940’s, Doris received the Turner Award from the National Association of Women Artists for a painting which made the leap to large-scale. […] Like many women, she was married and raising a family in the 1940’s—a son and a daughter. In the early years of her development, while living in Woodstock, she painted a series of Madonnas. Later, she taught painting in a basement in Brooklyn in order to afford supplies to paint.
Click here to view all of the artwork in NEW LANDSCAPES, NEW VISTAS, and make sure to stop by tomorrow if you haven’t seen it. You can connect with us on Facebook, Twitter and Instagram for daily gallery news.
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