Eric G. Thompson: New Works

Eric Thompson- Art Exhibition- August 2015- Matthews Gallery

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 Thompson- The Watch- Oil on Linen- Matthews Gallery Blog

 

Eric G. Thompson, The Watch, Oil on Linen

Eric Thompson- Santa Fean Girl- Oil on Linen- Matthews Gallery Blog

 

Eric G. Thompson, Santa Fean Girl, Oil on Linen

Eric Thompson- Freshly Mowed- Oil on Linen- Matthews Gallery Blog

Eric G. Thompson, Freshly Mowed, Oil on Linen

Eric Thompson- A Pair- Oil on Linen

Eric G. Thompson, A Pair, Oil on Linen

Eric Thompson- Winter Bones- Oil on Canvas- Matthews Gallery Blog

Eric G. Thompson, Winter Bones, Oil on Canvas

Eric Thompson- Over Lattes- Oil on Panel- Matthews Gallery Blog

Eric G. Thompson, Over Lattes, Oil on Panel

Eric Thompson- Perch- Oil on Linen- Matthews Gallery Blog

Eric G. Thompson, Perch, Oil on Linen

 

Eric Thompson- Grace- Oil on Linen- Matthews Gallery Blog

Eric G. Thompson, Grace, Oil on Linen

 Eric Thompson- Cool Morning- Oil on Panel- Matthews Gallery Blog

 Eric G. Thompson, Cool Morning, Oil on Panel

 Eric Thompson- Bosc- Oil on Linen

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.

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THE QUINTESSENTIAL MODERNIST

Randall Davey- Leaving the Paddock- Matthews Gallery Blog

We’re ending our SPRING OF MODERNISM blog series with the tale of a pioneering artist who was the model of a New Mexico modernist. Randall Davey (1887-1964) was born in East Orange, New Jersey. His father was an architect, and he enrolled at Cornell for architecture in 1905. Three years later he dropped out and moved to New York to study art, to the consternation of his father.

At the New York School of Art, Davey forged a close friendship with teacher and Ashcan School artist Robert Henri. Henri was friends with the founders of the Taos Society of Artists, and worked hard to cultivate New Mexico’s budding reputation as an arts destination. In 1910, Davey exhibited with George Bellows and Stuart Davis and in 1913 his artwork was in the New York Armory Show, the most influential modern art exhibition in U.S. history.

Portraits of Santa Fe Artist Randall Davey- Matthews Gallery Blog
Davey and artist John Sloan visited Santa Fe in the summer of 1919, and Davey fell in love with the Land of Enchantment. His art career in New York had stalled, and the Southwest adventure offered a fresh start. Davey bought an old mill on Upper Canyon Road and moved there permanently the next year. It was a path that had been calling him since his early days as an artist. Inspired by the metropolitan subject matter of the Impressionists, Davey developed a diverse oeuvre of still lifes, horse-racing and polo scenes, artistic nudes and landscapes.
Davey was a true Renaissance gentleman: he made paintings, prints and sculptures, played cello, built a polo field on Upper Canyon Road and was always dressed to the nines (even when he was painting in the hot sun).
Prints and a Drawing by Santa Fe Artist Randall Davey- Matthews Gallery Blog
The lifelong automobile enthusiast died in a car accident on a trip to California at 77 years old. After his death, his wife donated the Davey house and land to the Audubon Society. The Randall Davey House is still open for tours on Fridays, and stands as a tribute to an artist who helped make the Santa Fe art colony what it is today.
A Davey House docent visited the gallery for our SPRING OF MODERNISM opening, and kindly offered us a private tour. Keep your eye on the blog for photos from the tour and more information on Davey. Make sure to visit our exhibition before it closes on March 31st, and connect with us on Facebook, Twitter and Instagram for more gallery news.

PICTORIALISM: From Stieglitz to Curtis

Alfred-Stieglitz-Edward-Curtis-Art2

It was 1901 in New York City, and photographer Alfred Stieglitz (1864-1946) was busy preparing an exhibition that would shake the foundations of the art world. He had worked for years—often to the point of physical exhaustion—to elevate photography to the stature of fine art. A series of juried photography shows, judged mostly by painters, had popularized the aesthetic of pictorialism. Pictorialist photographers approached their art like a painter or illustrator, playing with focus and exposure in innovative ways and even marking the surfaces of their images. The idea was to “make” an image rather than “take” it, projecting emotions into the scene and onto the viewer.

Stieglitz and his friends saw the need for yet another leap forward in this new era of photography. They would mount a show composed entirely of photographs, and judged only by photographers. Or rather, it would be judged by one photographer: Stieglitz himself. He put together the show in two months and dubbed it the Photo-Secession, intending to secede from old conceptions of both photography and fine art. The exhibition was an enormous success, and gave Stieglitz the momentum to launch a photography journal and gallery to promote his ideas.

Pictorialism- Alfred Stieglitz to Edward Curtis- Matthews Gallery Blog

 

From left: View of Stieglitz’s Little Galleries of the Photo Secession, which opened in 1905;
Edward S. Curtis in his adventure clothes.

Thousands of miles away in Seattle, Edward S. Curtis (1868-1952) was just beginning his photography career. Curtis grew up in Wisconsin and built his first camera when he was a teenager. At 17 he apprenticed in a photography studio in St. Paul, Minnesota, and when his family moved to Seattle in 1887, he bought a partnership in a portrait studio. Over the next few years, he began photographing Native American people of the Washington territory, some of them relatives of Chief Sealth and other important leaders. These early portraits and genre scenes inspired a 30-year adventure through the American West, during which Curtis and his team recorded the lives of over 80 tribes in photographs, writings, recordings and sketches.

Curtis’ expeditions, which he recorded in a series of volumes called The North American Indian, kept him far away from the epicenter of the American avant-garde where Stieglitz resided. “He was an outsider, too far removed from the photographic salons to court or count on ready shows and reviews that had instituted pictorialist photography,” writes Gerald Vizenor in an essay on Curtis. However, it’s this aesthetic that ties Stieglitz and Curtis together in art history.

“Curtis kept abreast of national, even international, trends in photography—and in the visual arts more generally,” writes Mick Gidley. “His early writings for Seattle magazines reveal that he absorbed much from Pictorialism in photography, including the example of Alfred Stieglitz, the founder of the Photo-Secession.” Curtis’ earliest photographs of Native peoples feature the soft focus and sepia tone of some classic pictorialist images, and present his subjects as stoic archetypes of a vanishing culture. In his many adventures, Curtis often posed his subjects and manipulated images to fit his vision of the tribes he was portraying. These techniques have earned Curtis praise as a pictorialist, but have also stirred up controversy. Curtis called himself an ethnologist, but the aesthetically powerful images he created didn’t always aim for scientific accuracy.

In the collection of photographs below, we’ve reunited Curtis with his pictorialist roots, placing some of his most iconic images among significant works by Stieglitz and his contemporaries. As you view the images, ponder Curtis’ position as an outsider during his lifetime, and his new place as a pictorialist in the art history books…

Edward S Curtis- Girl and Jar Photogravure- Matthews Gallery Blog

Edward S. Curtis, Girl and Jar, Photogravure

Adolph de Meyer- Marchesa Casati- 1912- Pictorialism- Matthews Gallery Blog

Adolph de Meyer, Marchesa Casati, 1912

Edward S Curtis- Apache Medicine-Man Photogravure- Matthews Gallery Blog

Edward S. Curtis, Apache Medicine-Man, Photogravure

Henry Peach Robinson- Fading Away- 1858- Pictorialism- Matthews Gallery Blog

Henry Peach Robinson, Fading Away, 1858

EdwardCurtis-Art-TheRushGatherer

Edward S. Curtis, The Rush Gatherer, Photogravure

Alvin Langdon Coburn- Spiderwebs- 1908- Pictorialism- Matthews Gallery Blog

Alvin Langdon Coburn, Spiderwebs, 1908

Edward S Curtis- Waiting the Forest-Cheyenne Photogravure- Matthews Gallery Blog

Edward S. Curtis, Waiting in the Forest— Cheyenne, Photogravure

Paul Haviland- Doris Keane- 1912- Pictorialism- Matthews Gallery Blog

Paul Haviland, Doris Keane, 1912

Edward S Curtis- The Storm-Apache Photogravure- Matthews Gallery Blog

Edward S. Curtis, The Storm-Apache, Photogravure

Alfred Stieglitz- The Terminal- 1893- Pictorialism- Matthews Gallery Blog

Alfred Stieglitz, The Terminal, 1893

Click here to learn more about Edward S. Curtis, his adventures and the rediscovery of his work in the 1970’s, and connect with us on Facebook, Twitter and Instagram for daily gallery news.

SPRING OF MODERNISM

We’ve had some unseasonably warm days after last weekend’s snowstorm, and it’s making us excited for the end of winter. It’s the perfect time to release our spring exhibition schedule, which is a period of exciting growth at Matthews Gallery.

In light of Georgia O’Keeffe Museum’s brilliant Modernism Made in New Mexico exhibition and New Mexico Museum of Art’s recent emphasis on Southwestern modernists, we’re declaring a ‘Spring of Modernism’ in Santa Fe. It begins with our exhibition of influential New Mexico modernists, and features women artists of new mexico, rare artifacts from legendary artists’ studios and much more. Check it out:

Spring of Modernism Show- New Mexico Modern Art- Matthews Gallery

Spring of Modernism: Seminal New Mexico Modernists
March 6-31, Opening Reception: Friday, March 6, 5-7 pm

Matthews Gallery declares a “new spring” of modernism, as this rich period in New Mexico art history returns to the spotlight. Featured artists include Emil Bisttram, William Lumpkins and Raymond Jonson of the Transcendental Painting Group, Alfred Morang and Randall Davey of the Santa Fe art colony, and Beatrice Mandelman of the Taos Art Colony.

Collectors Forum- Art Collecting Workshop- Matthews Gallery Blog

Collector’s Forum Workshop
April 17, 6:30 pm

We offer an inside look at art collecting for this special Art Matters event. The workshop is for anyone who’s ever considered buying, selling or caring for fine art and has questions about the inner workings of the art world. Forum participants will get an inside look at every step of the process from one of Santa Fe’s top galleries. The event is free but seating is limited, so give us a call if you’d like to participate – 505-992-2882. Read about our past Collector’s Forum workshops here and here.

New Landscapes New Vistas- New Mexico Women Artists Show- Matthews Gallery

New Landscapes, New Vistas: Women Artists of New Mexico 
May 8-31, Opening Reception: Friday, May 8, 5-7 pm

In the first half of the 20th century, a number of women artists who were frustrated by a lack of the recognition on the East Coast packed up and left everything behind. In New Mexico’s isolated art colonies, they found the freedom and social acceptance to excel. Matthews Gallery presents the stories and artwork of Janet Lippincott, Agnes Sims, Doris Cross and other women who found a powerful voice in the Land of Enchantment.

Artists Toolbox- Artwork and Artifacts of New Mexico Artists- Matthews Gallery

The Artist’s Toolkit: New Mexico Artists at Work 
June 4-10, Opening Reception: Friday, June 5, 5-7 pm

This special exhibition features rare artifacts of legendary New Mexico artists alongside their work, giving visitors insight into the complex process of conceptualizing, mixing and applying color. Visitors will get a once-in-a-lifetime opportunity to view Tommy Macaione’s paint palette, John McHugh’s brushes, Alfred Morang’s notes on color, Hilaire Hiler’s color wheel and other behind-the-scenes ephemera from Santa Fe private collections.

Widening the Horizon- New Mexico Landscape Show- Matthews Gallery Blog

Widening the Horizon: New Mexico Landscapes
June 12-30, Opening Reception: Friday, June 12, 5-7 pm

New Mexico’s endless vistas offer an opportunity and a challenge to artists. Matthews Gallery looks back at legendary artists’ attempts to capture and reimagine the High Desert horizon, from early Santa Fe and Taos art colonists including Datus Myers and William Vincent Kirkpatrick, to modernists including William Lumpkins and Beatrice Mandelman, who evoked the spirit of the landscape through the language of abstraction.

Learn more about our exhibition schedule here, and connect with us on Facebook, Twitter and Pinterest for daily gallery news.

New Mexico Connections: Hondius and Cowles

Cowles-Dasburg-Hondius-ArtistsFrom top: Cowles, Dasburg and Hondius 

You’d be surprised at how often we find New Mexico links in the biographies of our historic artists, even if they never lived here. The latest paintings to appear on our walls are good examples. Gerrit Hondius and Russell Cowles were celebrated modern artists in New York: both exhibited at the Museum of Modern Art and the World’s Fair, and their works are now part of the permanent collections of numerous major museums. Their mutual friend Andrew Dasburg, whose career also took off in New York, would move to Santa Fe in 1921 and help usher in the region’s modernist period.

It goes to show that New Mexico was a major player in the American modernist movement, far beyond Georgia O’Keeffe’s significant contributions. Read on to learn more about these influential artists and their ties to the Land of Enchantment…

Russell Cowles- Untitled Modernist Landscape- Matthews Gallery Blog

Russell Cowles, Untitled (Modernist Landscape), Oil on Panel

“When an artist sees something he wants to paint, his first step should be to look- to look long and sensitively- to feel what nature has to say,” said Russell Cowles (1887-1979). Wherever the modernist set up his easel—from New Mexico to East Asia—he followed this philosophy with the passion of an artist and the intellectual focus of a scholar.

The Iowa-born artist graduated from Dartmouth College in 1909. He studied painting in Paris and Rome, drawing inspiration from the artwork of Cezanne and Gauguin. Cowles returned to the United States in 1920, exhibiting his artwork at the Metropolitan Museum of Art soon after. In 1925, he received a medal from the Art Institute of Chicago. These honors marked the beginning of a long and illustrious career that took Cowles as far as China to study with a master of Chinese painting, and Bali to experiment with abstract painting.

Cowles began living in Santa Fe for part of each year in 1930, and befriended John Marin, Andrew Dasburg, Marsden Hartley and other New Mexico modernists. He received a prize at the World’s Fair in New York City in 1937, and his artwork appeared in LIFE Magazine in 1948. He died in New York City in 1979.

Gerrit Hondius- Untitled Modernist Landscape- Matthews Gallery Blog

Gerrit Hondius, Untitled (Modernist Landscape), Oil on Panel

Gerrit Hondius (1891-1970) was born in the Netherlands and studied painting at the Royal Academy in The Hague. It was there that he developed a passion for Georges Rouault and the French expressionists, but he found a true match for his style and creative energy in New York City.

Hondius moved to New York in 1915, and studied at the Art Students League with Max Weber and Andrew Dasburg. He first caught the eye of the art world with a massive WPA mural in brilliant Fauvist and expressionist hues. In the mural, colorful city people tangled with masked figures, clowns and ballerinas, inviting Old World allegorical figures to frolic in the capital of New World modernity.

In the following years, Hondius split his time between New York and Provincetown, Massachusetts, and exhibited at the Whitney Museum of American Art, the World’s Fair, the Museum of Modern Art, Rockefeller Center and over fifty other venues across the United States and Europe. His artwork is in the permanent collections of the San Francisco Museum of Art, the Whitney Museum and other institutions across the world. His wife Paula donated his sketchbooks, letters and other personal effects to the Smithsonian Institution after his death.

Check out our website to learn more about Gerrit Hondius and Russell Cowles, and connect with us on Facebook, Twitter and Flickr for daily gallery news.

MORANG AND FRIENDS: The Saloon

Wild Tales of a Legendary Santa Fe Tavern- Matthews Gallery Blog

Special announcement: We’ve officially extended our MORANG AND FRIENDS exhibition through Friday, January 2nd. Come trace the legacy of ‘Santa Fe’s Toulouse-Lautrec’! 

Cheryl Ingram strolls into Matthews Gallery and beams up at a sign that hangs high on the wall. “There it is, Claude’s Bar,” she says. Ingram is the co-owner of Silver Sun Gallery, which is just down the street from us. Her gallery once housed Claude’s Bar, and this Santa Fe relic is usually on display there. Ingram kindly lent it to us for our MORANG AND FRIENDS exhibition. Though Claude’s was established just two years before Alfred Morang’s death, he quickly took a liking to the tavern and its charismatic owner, Claude James. In fact, Claude’s was his last stop before the fire that ended his life in January, 1958.

About two decades after Morang’s death, Ingram and her business partner Deanna Olson arrived in Santa Fe. They were retired school teachers who had been traveling around the country selling handmade Native American jewelry. When they reached the City Different, they stuck around and founded Silver Sun. In the years since 1980 when they opened the business, they’ve become the keepers of countless stories about the infamous saloon that preceded them. As Ingram strolls around the gallery smiling at the colorful canvases, she can’t help but pass on some fascinating tales of Canyon Road.

Artwork by Legendary Santa Fe Painter Alfred Morang- Matthews Gallery Blog

Ingram analyzes a painting of ladies dancing on a stage, concluding that it’s probably a view of El Farol. She and Lawrence linger by a watercolor of a bustling restaurant and try to identify where it might have been. She finally stops before a large painting titled ‘The Women at Claude’s’, and the stories really start rolling.

“Claude’s mother was French, and she married an editor at the New York Times whose last name was James,” Ingram says. In the 1950’s, Claude and her mother embarked on a road trip to California along Route 66. On their way back they took a detour to Santa Fe and never left.

Claude followed in her father’s footsteps and took a job as a journalist for the Santa Fe New Mexican. One year her house caught fire, killing her two corgis. A reporter snapped a photo of the dead dogs and published it in the paper the next day. Claude was so disturbed that she swore off journalism. She and her mother bought a building on Canyon Road’s 600 block and opened a bar and restaurant.

At first it was a fancy establishment where Claude’s mother hosted intellectuals from Paris, but later it was better known for midnight parties and wild bar brawls. “The Santa Fe police were always hoping it would burn down,” Ingram says. “Whenever they got a call about it, they were disappointed that there hadn’t been a fire.”

 Alfred Morang- The Women at Claude's- Matthews Gallery Blog Alfred Morang, The Women at Claude’s, Oil on Canvas

Ingram stares intently at ‘The Women at Claude’s’ and warm recognition spreads across her face. “Claude had dark hair, and she was short and squat like the woman in the center of the painting,” she says. In fact, with a little more analysis, Ingram concludes that the woman probably is Claude. “She’s standing behind the bar, so it very well may be Claude serving the clientele. That would be her lover behind her.”

Claude often tended bar barefoot with a pack of cigarettes folded into the sleeve of her shirt, Ingram says. She would throw patrons out of the bar “by the belt and shoulder” if they got too rowdy. “Canyon Road wasn’t paved then, so the landing was a little softer, but you didn’t mess with Claude,” Ingram says with a laugh.

As she continues, we flip our tape recorder on:

She was a handsome woman, but not a pretty woman. She was short but you didn’t mess with her.

A guy came into Silver Sun about 1982, looking for Claude’s Bar. I told him he was a little late, and he told me a story about Claude.

He said he had ordered a beer and Claude was working the bar. He noticed this pretty woman sitting at the other end of the bar. He tried to hit on her, and next thing he knew, his tie, shirt and coat were pulled across the bar. “You leave my woman alone,” Claude said. He was so upset, he didn’t finish the beer and left.

Each corner of the bar had its own persuasion. You had the gay men over here, the gay women over here, and the three piece suits were over there with the ladies of the night. Claude was like a teacher in the classroom: one corner did not mess with any of the other corners, or your fanny was out of there.

There was an ambiance that was going on in there that was truly Santa Fe of the period, and that’s why she was so popular. You were okay if you got in there. Even if you got stumbling drunk, someone would be there to protect you from some nasty politician or a cowboy with a gun.

There were honest-to-god cowboys who wore guns. A fight broke out between them and the gay guys once, and everyone had guns. There were two lines of guns, about ten or twelve feet apart, and they were drunk and shouting. That story came from a lady who was hiding under the bar. She was the barkeep on Saturday night. It looked like they were shooting around each other, trying to scare each other. One guy did take a hit in the fanny, however. When the cops got there, they just took the whole batch. The next day, the barkeep quit.

Towards about 1970 or 1971, there was a dance floor way in the back where a sculpture garden is now. A guy named Jimmy was up there playing—his wife told me this story—and looked past all the drunks to the door. Here was this lanky guy with a guitar case who saunters over to Jimmy. “Mind if I play along?” he says. Jimmy just had a cow. They played all the rest of the night together, and no one besides Jimmy recognized him. It was Jimi Hendrix. They were all too drunk.

Claude eventually lost interest in bar tending and hired someone else to manage the establishment. The saloon closed in the late 1970’s but its charismatic owner remains a legend among Santa Feans. It’s fascinating to hear Ingram’s tales, especially because they’re rare firsthand accounts. They’re all from people who have passed through Silver Sun over the years to pay tribute to Claude’s.

Since MORANG AND FRIENDS opened two weeks ago, we’ve had visits from many people with Santa Fe stories like these. We’d like to thank everyone who shared with us. Your words have helped inspire our upcoming exhibition schedule, which will delve into many corners of the Santa Fe art colony. Stay tuned!

For more gallery news, make sure to connect with us on Facebook, Twitter and Instagram.

COLLECTOR’S FORUM: Join the Network

Get Connected- Collector's Forum Workshops- Matthews Gallery blog

Seats are filling up for our free COLLECTOR’S FORUM workshops, which begin next Friday as part of the Santa Fe Gallery Association’s Art Matters lecture series. The events have already given us the opportunity to connect with art lovers of all stripes. As the news spreads from person to person, a network is forming with links to local art legends like Alfred Morang and Fremont Ellis.

Gertrude Stein with her famous Picasso portrait- Matthews Gallery blogGertrude Stein with Pablo Picasso’s famous portrait of her

That’s why this lovely friendship map of Parisian modern artists and patrons from the early 20th century caught our eye on Twitter the other day. Celebrated salonniere Gertrude Stein is the spider at the center of the web, of course, with Pablo Picasso and Henri Matisse and Joseph Stella and Henri-Pierre Roche entangled around her. Mabel Dodge and Marsden Hartley appear too, and their later New Mexico adventures tie this famous circle directly to our own rich cultural history. Forget six degrees of separation, we’re down to one!

The art world is beautifully interconnected, but that doesn’t mean it has to be exclusive. Our workshops are designed for anyone who’s ever considered dipping a toe into the art market, whether you have a full array of masterpieces or a virtual wish list of art treasures on Tumblr. We’ll cover every angle of the art business, including:

  • How the price of artwork is determined
  • How the primary art market differs from the secondary market
  • The importance of provenance
  • When conservation should be considered for an artwork and what is involved
  • How to insure your artwork
  • How to receive an accurate art appraisal
  • How to negotiate the purchase of art
  • The best strategies for buying or selling art at auction

The workshops will feature fascinating behind-the-scenes stories from our gallery, and tales of tricky art conservation projects from special guest Matt Horowitz. Shoot us an email to reserve your seat and become a link in the long chain of art connoisseurs, from the City of Light to the City Different!

Learn more about COLLECTOR’S FORUM on our exhibition page, and connect with us on Facebook and Twitter for daily gallery news.