Janet Lippincott: A 70-Year Retrospective

janet-lippincott-matthews-gallery

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.

janet-lippincott-artwork-matthews-gallery

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.

janet-lippincott-artwork-2-matthews-gallery

“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.

Janet Lippincott 2

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. 

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NEW LANDSCAPES, NEW VISTAS: Southwest Premodernism

Nampeyo- Hopi Potter- Matthews Gallery Blog

This is part 2 of our blog series on the history of women artists in New Mexico.
Read part 1 here, and learn more at our May 8-31st exhibition
NEW LANDSCAPES, NEW VISTAS: Women Artists of New Mexico.

“I have alluded to Nampeyo as a ‘modern artist,’ because the more I understood her life and work, the more her extraordinary career seemed to parallel that path,” writes Steve Elmore in the last chapter of his book In Search of Nampeyo. Elmore stepped in as our guest blogger last week, which gave us some time to study the links between Pueblo aesthetic innovations and the diverse New Mexico art movements that emerged in the 19th and 20th centuries.

What did romanticist painters of the early Santa Fe and Taos art colonies learn from Pueblo traditions that had been around for centuries before they arrived? How did the elegant abstract patterns on San Ildefonso jars and bowls influence abstract expressionists like Beatrice Mandelman and Janet Lippincott?

Nampeyo- Hopi Pottery- Matthews Gallery Blog

Elmore provided the first clues to this investigation in his biography of Nampeyo (1856-1942), a Hopi-Tewa potter whose innovative images bridged the ancient and modern worlds. Here’s more from In Search of Nampeyo:

While much of Nampeyo’s life was that of a traditional Hopi woman, we need to consider her life and work outside of the academic fields of archaeology and anthropology, which have heretofore defined how Nampeyo has been perceived by the public. Today, her masterpieces are mostly displayed in natural history museums next to Anasazi jars or in anthropological exhibits of Pueblo Indians—not in art museums—and certainly not as modern art.

Yet, in the end, Nampeyo was not an ancestral potter, nor even a traditional Pueblo potter, although these conditions were the context for her achievements. While she was trained as a traditional potter, she evolved into a unique artist using modern marketing techniques to sell her work to a new Euro-American audience.

As Elmore stresses, it’s important to understand Nampeyo, Maria Martinez and other influential Pueblo potters not as isolated traditionalists but as artists who interacted with newcomers and adapted to the cultural changes they affected. The realities of frontier living necessitated a constant dialogue between the first artists who emigrated from the East Coast and Pueblo artisans. This interchange continued as the market for Pueblo arts and crafts grew and shifted based on the demands of visitors.

IlaMcAfee

Ila McAfee (1897-1995), one of the early “Euro-American” transplants, drew inspiration from Pueblo traditions in her work. McAfee often painted wild horses in profile, echoing the stark monochrome of pottery designs. In The Golden Triad, three beasts hover before a textured golden-brown field that captures the hues of high desert clay.

Taos art dealer Robert Parsons interviewed McAfee about her early years in Taos:

It was so different then. There was nothing between me and the mountain when we first got here. The village was small and the Indians remained uninfluenced by the invaders. Once I asked one of them, ‘What did you call this country before the Europeans came?’ ‘Ours,’ he told me.

Dorothy-Brett-Artist-Matthews-Gallery

Other early Taos artists such as Helen Greene Blumenschein (1909-1989) and Dorothy Brett (1883-1977) also interacted with the nearby Pueblo. Blumenschein meditated on the relationship between the new settlers and the natives in her Taos memoirs, and Brett spent years making genre paintings of the Taos Poblanos. Later on, Brett switched to more mystical subject matter that was inspired by Native American spirituality. Her paintings Cat Shaman and Moon Ray reflect her mature philosophies that link humanity and nature.

Agnes Sims Artwork with New Mexico Petroglyphs- Matthews Gallery

In the 1930s, Santa Fe artist and archaeologist Agnes Sims (1910-1990) arrived in New Mexico and began studying the ancient Pueblo petroglyphs. As she pondered the mysteries of the lost language, she began developing her own abstract symbol system in a series of paintings and sculptures.

Sims’ abstract experiments prefigured the innovations of Beatrice Mandelman (1912-1998) and Janet Lippincott (1918-2007), abstract expressionists who helped bring a bold new aesthetic to the Desert Southwest in the 1940’s. This wave of modernists surely took note of Pueblo aesthetic innovations that had spread from Nampeyo’s studio to the San Ildefonso Pueblo and beyond. From Elmore:

Nampeyo’s abstract drawings are strangely prescient of the abstractions of Euro-American modern art. This remains a large part of her mystique. In particular, critics have noted the comparison between Nampeyo’s abstractions of birds to Pablo Picasso and Georges Braque’s invention of Cubism, wherein an object is shown from multiple views at the same time.

Elmore’s observations complete the circle of influences, revealing a far more interconnected aesthetic evolution than we originally imagined. Check back next week for the continued tale of women artists in New Mexico, and connect with us on Facebook, Twitter and Pinterest for daily gallery news.

Nampeyo and Pablo Picasso- Matthews Gallery Blog*Images of Nampeyo’s pottery courtesy of Steve Elmore. Image of New Mexico petroglyph courtesy of Roch Hart.

NEW LANDSCAPES, NEW VISTAS

New Landscapes New Vistas- Women Artists of New Mexico- Matthews GalleryNEW LANDSCAPES, NEW VISTAS: Women Artists of New Mexico
opens with a special reception on Friday, May 8 from 5-7 pm. 
We hope to see you there!

The history of women artists in New Mexico stretches back countless generations, to the early Pueblo artisans who developed innovative ceramics and weaving techniques. That’s just the starting point of our spring exhibition NEW LANDSCAPES, NEW VISTAS: Women Artists of New Mexico. From Native women potters to pioneers of New Mexico modernism, all the way up to trailblazing women artists of today, the May 8-31 show tells stories of incredible persistence and beauty in the Land of Enchantment.

“The Southwest gave me a whole new language, new vistas to paint,” said Henriette Wyeth, who moved to Taos, New Mexico in 1939. At the beginning of the 20th century, the isolated Santa Fe and Taos art colonies offered a fresh start for women artists who had struggled to find recognition back East. In the same era, Maria Martinez of Northern New Mexico’s San Ildefonso Pueblo worked to combine various traditional Pueblo pottery styles and techniques, bringing the age-old tradition to new audiences.

The efforts of Martinez and her contemporaries meshed well with inquisitive new transplants like Agnes Sims, who studied Pueblo petroglyphs and used them as inspiration for paintings and sculptures. Meanwhile, artists like Beatrice Mandelman and Janet Lippincott came to the Southwest to pave new paths, experimenting with abstraction. Dorothy Eugenie Brett, Doris Cross and Dorothy Morang became powerful voices among the Santa Fe and Taos avant-gardes, while arts champions such as Mabel Dodge Lujan and Mary Cabot Wheelwright acted as powerful patrons and creative muses.

Scroll down for a preview of the artwork, and follow our blog in the coming weeks for stories of women artists across New Mexico history.

Nampeyo- Black Red Hopi Seed Jar Sculpture- Matthews Gallery

Nampeyo

Agnes Sims- Petroglyph- Matthews Gallery Blog

Agnes Sims

 

Beatrice Mandelman- Nova- Matthews Gallery blog

Beatrice Mandelman

Beulah Stevenson- Place of the Drums- Matthews Gallery blog

Beulah Stevenson

 

Dorothy Morang- Summer Storm- Matthews Gallery blog

Dorothy Morang

 

Doris Cross- Untitled Portrait- Matthews Gallery blog

 Doris Cross

Janet Lippincott- The Edge- Matthews Gallery blog

Janet Lippincott

Annie OBrien Gonzales- Green Vase Ivory Tulips- Matthews Gallery blog

Annie O’Brien Gonzales

Heidi Loewen- Back to Egypt- Matthews Gallery Blog

Heidi Loewen

Learn more about NEW LANDSCAPES, NEW VISTAS on our homepage, and connect with us on Facebook, Twitter and Instagram for daily gallery news.

SPRING OF MODERNISM: The Circle

Mabel Dodge Luhan and Georgia O'Keeffe- Matthews Gallery BlogMabel Dodge Luhan and Georgia O’Keeffe

If you visit our SPRING OF MODERNISM show this month, two things will become abundantly clear about the 20th century artists in the exhibition. Firstly, they’re all linked, in one way or another, to the 1913 Armory Show in New York City. Secondly, they are all tied to each other. In fact, the modernists of the Santa Fe and Taos art colonies are so intertwined that we tried and failed to create a chart of their relationships. There are so many connections, it reminds us of Gertrude Stein’s Paris! Here’s just one line of the friendship chain, which begins with Stein herself:

Jan Matulka- Surrealist Landscape- Matthews Gallery Blog
MATULKA
Jan Matulka (1890-1972) was born in Austria-Hungary, now the Czech Republic. He moved to New York City in 1907 and enrolled at the National Academy of Design soon after. A Joseph Pulitzer Traveling Scholarship enabled him to visit the Desert Southwest in 1917, where he was inspired by the cultures of the Pueblo Native American Tribes. He maintained studios in Paris and New York during the 1920s, befriending Gertrude Stein, Andre Lhote and Max Weber.
DASBURG
Andrew Dasburg (1887-1979) also knew Stein. He was born in Paris and emigrated to New York City in 1892. He studied at the New York Art Students League and spent time in Paris with Stein, Henri Matisse and Morgan Russell as a young man. In 1913, he exhibited Lucifer (above) at the Armory Show, and was later invited to New Mexico by Mabel Dodge Luhan. He moved to Taos in 1921, and was part of Georgia O’Keeffe and Alfred Stieglitz’s circle here.

 Cady Wells- Taos 1947- Matthews Gallery Blog Cady Wells, Taos 1947, Ink and Watercolor on Paper

WELLS

Cady Wells (1904-1954) knew Luhan and O’Keeffe and studied under Dasburg. He grew up in Southbridge, Massachussets and traveled extensively as a young man, studying music and the visual arts before deciding to become an artist in his late 20s. He moved to New Mexico in 1932, where he found an enthusiastic mentor in Dasburg and drew inspiration from the rich culture of the Desert Southwest. The Smithsonian American Art Museum writes:

Portraying the Southwestern landscape in watercolor, Wells moved through various modernist idiots. His early work incorporated gestural, calligraphic lines suggestive of Chinese ideograms. Later he investigated the structure of natural forms [and the] pattern-like appearance of the landscape. Influenced by Dasburg, Raymond Jonson and Georgia O’Keeffe, Wells developed a personal semi-abstract style that brought considerable praise from his peers.

 Raymond Jonson- Oil Number 12- Matthews Gallery BlogRaymond Jonson, Oil No. 12, 1958, Oil on Canvas

JONSON 

Wells’ friend Raymond Jonson (1891-1982) was born in Chariton, Iowa and grew up in Portland, Oregon. He attended the Chicago Academy of Fine Arts and the Chicago Art Institute as a young man, but his true artistic breakthrough came when he attended the 1913 Armory Show and saw the artwork of early abstractionist Wassily Kandinsky.
Jonson traveled to New Mexico for the first time in 1922, and moved here two years later. Here he founded the Atalaya Art School and took a teaching position at the University of New Mexico.
Along with his friends Emil Bisttram, Agnes Pelton and others, Jonson formed the Transcendental Painting Group (TPG) in 1938. The collective was inspired by early abstract artists like Wassily Kandinsky and Piet Mondrian, as well as Theosophy, Zen Buddhism and Dynamic Symmetry. The TPG only lasted a few years, disbanding in 1942 because of World War II. However, the collective’s influence endures in the Southwest and beyond. Some consider the group an heir to Russian Constructivism, Gino Severini and the Bauhaus.
Emil Bisttram- After the Blizzard- Matthews Gallery Blog
BISTTRAM 
Jonson’s friend Emil Bisttram (1895-1976) was born in Hungary and immigrated to New York City with his family at 11. It wasn’t until his mid-30s that he visited Taos, but he fell in love with the area and would become a major player in the art colony when he moved there a year later.In 1933 Bisttram helped open the first modern art gallery in Taos and in 1938 he co-founded the Transcendental Painting Group. He promoted the ideas of the collective through the Emil Bisttram School for Transcendentalism, where Janet Lippincott was one of his students.
Janet Lippincott- Llano Ridge- Matthews Gallery Blog
LIPPINCOTT
Bisttram’s student Janet Lippincott (1918-2007) was born in New York City to a wealthy family, and spent part of her childhood in Paris. There she learned about the aesthetic innovations of Picasso and Matisse. Back in New York, she took classes at the New York Art Students League as a teenager.During World War II, Lippincott enlisted in the Women’s Army Corps and was wounded. She pursued art studies in Colorado and San Francisco on the GI Bill, and also attended the Emil Bisttram School for Transcendentalism in Taos in 1949 and the Alfred Morang Academy of Fine Art. In 1954, she moved to Santa Fe permanently and lived here for over five decades.Lippincott was considered part of a “second wave” of New Mexico modernists, who ventured to the Southwest after WWII. She is known as an abstract expressionist, but her early modernist influences in Paris stuck with her, as evidenced in her career-spanning series of figurative prints.

Alfred Morang- Blue Mountain Yellow Sky- Matthews Gallery Blog Alfred Morang, Blue Mountain, Yellow Sky, Ink and Watercolor on Paper

MORANG 

As a young man, Lippincott’s teacher Alfred Morang (1901-1958) suffered from tuberculosis. He left his home in Portland, Maine in 1937 and came to New Mexico to recover in a dryer climate. The reports vary, but when Morang got off the train he was met by Randall Davey or Raymond Jonson, two of the city’s most established modernist artists. Morang’s bohemian manner quickly charmed the Santa Fe art world, and the City Different became his permanent home.

Late in his life, Morang moved to a Canyon Road studio just behind Claude’s Bar. Just across the street was an artist and writer’s compound run by Agnes Sims.

 Agnes Sims- Dance Rattles- Matthews Gallery BlogAgnes Sims, Dance Rattles, Watercolor on Paper

SIMS 

Morang’s Canyon Road neighbor Agnes Sims (1910-1990) was born in Devon, Pennsylvania. She managed a marionette theater and worked as a textile designer in Philadelphia before moving to Santa Fe in 1938 and founding a Canyon Road artist’s compound. In New Mexico, she took an interest in the ancient petroglyphs of New Mexico’s Native American Pueblos, and received a grant to study and sketch them. Her archaeological work inspired a series of paintings and sculptures in which she developed her own semi-abstract symbolism.

Sims’ longtime partner was the literary editor of Harper’s Bazaar, and helped popularize Truman Capote‘s work. Capote was friends (and sometime enemies) with Georgia O’Keeffe. And so the circle comes back around to Andrew Dasburg!

We could do this for ages, but you get the point. The New Mexico art community was a western frontier of avant-garde innovation, forged by a group of passionate friends whose efforts gave birth to the Land of Enchantment of today. And thank goodness for that!

Click here to see all of the artwork in our Spring of Modernism show, and connect with us on Facebook, Twitter and Flickr for daily gallery news.

NEW ARMORY: Modernism’s Western Frontier

A severe sculpture by Andrew Dasburg, which appeared in the 1913 Armory Show, contrasts with his soft pastel snow scene that will appear in SPRING OF MODERNISM- Matthews Gallery Blog
A severe sculpture by Andrew Dasburg, which appeared in the 1913 Armory Show,
contrasts with his soft pastel snow scene that will appear in SPRING OF MODERNISM.
The 102nd annual Armory Show opens in New York City this weekend. Its history stretches back to 1913, when the exhibition introduced the European modernist movement to the United States. Featured artists included Pablo Picasso, Henri Matisse, Georges Braque, Vincent van Gogh Gogh and other Europeans. The show also included American artists such as Randall Davey, John Sloan, Paul Burlin, Andrew Dasburg, Edward Hopper, Marsden Hartley and more who had been influenced by the artistic revolution taking place across the Atlantic.
Not-so-coincidentally, we’re launching a modernism show of our own this Friday, and it features several New Mexico artists who participated in the original Armory show. During the first half of the 20th century, Davey, Sloan, Dasburg and a great variety of their East Coast contemporaries ventured to New Mexico and reshaped the Taos and Santa Fe art colonies into Western outposts for bold aesthetic innovation. The Taos Moderns, the Transcendental Painting Group (TPG) and other collectives engaged with new developments in the movement, gaining an influential presence on the international art stage.
Our SPRING OF MODERNISM exhibition will follow every twist and turn of New Mexico’s modernist movement through significant artworks by Davey, Dasburg, Max Weber, Doris Cross, Russell Cowles, Howard Schleeter, Rolph Scarlett, Paul Burlin, Cady Wells, Jan Matulka, Dorothy Brett and others. It features TPG mavericks Raymond Jonson, Emil Bisttram and William Lumpkins, Taos Moderns such as Beatrice Mandelman, and pivotal Santa Fe modernists including Alfred Morang and Janet Lippincott.
The scope of the show is as ambitious as its title suggests— we’re highlighting 50 transformative years of New Mexico modernist history. SPRING OF MODERNISM shows how New Mexico’s art community became one of the largest and most influential in the nation.
Look below for some of our favorite works from the exhibition, and check out a special preview on our website. Also, make sure to attend the opening on Friday, March 6 from 5-7 pm!
 Emil-Bisttram- Orbs and Arrows- Encaustic- Matthews Gallery Blog
Jan Matulka -Landscape - 1923- Watercolor- Matthews Gallery Blog
Doris Cross- Untitled- Mixed Media- Matthews Gallery Blog
Alfred Morang- Untitled Landscape- Matthews Gallery Blog
Howard-Schleeter- Pueblo- 1949- Gouache
Randall Davey- Leaving Paddock- Lithograph
Beulah Stevenson- Place Of Drums- New Mexico - 1940-5- Matthews Gallery Blog
Paul Burlin- Look-No Fish- Oil on Canvas- 1949- Matthews Gallery Blog
Thomas Benrimo- Nymph of the Sea- oil on board- 1949- Matthews Gallery Blog
Make sure to follow us on Facebook, Twitter and Instagram for more gallery news, and stayed tuned for information on our modernism-themed dinner at Coyote Cafe!