FALL OF MODERNISM: The Modernist Impulse

Matthews Gallery Interior- Fall of Modernism

“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- Matthews Gallery Blog
Andrew Dasburg, April Snow 1967, Pastel on Paper.

Jan Matulka- Landscape circa 1923- Watercolor on Paper- Matthews Gallery

Jan Matulka, Landscape circa 1923, Watercolor on Paper. 

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

Cady Wells, Taos, 1947, Ink and Watercolor on Paper.

 

Fall of Modernism 2015- Matthews Gallery Blog

 

 

 

 

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WIDENING THE HORIZON: Maynard Dixon

Maynard Dixon- Love to Babette- Matthews Gallery Blog

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.

Maynard Dixon- Artist- Matthews Gallery Blog

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.

Maynard Dixon and Dorothea Lange- Matthews Gallery Blog

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.

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: Early Pueblo Pottery

 Maria Martinez- Revolutionary San Ildefonso Potter- Matthews Gallery Blog- Photo Courtesy Steve ElmoreThe tale of our current exhibition NEW LANDSCAPES, NEW VISTAS: Women Artists of New Mexico begins twenty-three miles northwest of Santa Fe in the San Ildefonso Pueblo, population 458. The village has a long legacy of women potters, whose innovative ceramics techniques and designs inspired traditional and modernist artists who traveled to New Mexico in the late 19th and early 20th centuries. San Ildefonso is known as the epicenter of Pueblo pottery for good reason, as discussed by our guest blogger Steve Elmore. Elmore’s extensive pottery collection appears in the show. 

From 1875-1925, the polychrome or multicolored pottery produced at San Ildefonso reached a distinguished peak in the creative history of Pueblo pottery in the Southwest. Indeed, the residents of this small Pueblo village on the Rio Grande, northwest of Santa Fe, are direct descendants of the prehistoric Pueblo peoples of Mesa Verde and Chaco Canyon, whose tradition of potting spans a thousand years of human history.

Juana Leno- Acoma Polychrome Olla circa 1965- Matthews Gallery BlogJuana Leno, Acoma Polychrome Olla, c. 1965

San Ildefonso remains a small village. In 1900 there were only 30 households and in 1910 eight women are noted in the census as potters. We are fortunate to the know the names of these early potters. At the turn of the century, the most established potters were the husband and wife team of Martina Vigil (1856-1916) and Florentino Monotoya (1858-1918). Martina’s excellent molding combined with Florentino’s skilled painting produced many exquisite jars, including many fine large storage jars. Most are polychromes. Born in the 1850s, they were certainly potting by the 1870s if not earlier, and their joint efforts became a model for the production of San Ildefonso polychromes: a family effort involving both partners.

Traditionally, San Ildefonso pottery was decorated with black designs over a gray slip on a bulbous rounded form. The use of red clay was confined to the rim and a narrow band around the base of the jar. With arrival of the Santa Fe Railway in the region, potters at San Ildefonso began introducing red clay into the painted design on the main body of the jars. What prompted this introduction of red is unknown, but most scholars suggest that the arrival of thousands of travelers from the Eastern United States on the new railroad sparked the change. The tourists were eager to purchase pottery, and the polychrome wares of Acoma Pueblo quickly led the market. Acoma pottery, with precise four-color drawings on thin symmetrical jars, set the standards for the tourist trade.

Acoma Polychrome Olla- Matthews Gallery BlogAcoma Polychrome Olla

Certainly the innovators of their time, Montoya and Vigil might have been the first at San Ildefonso to use red with the black design. Perhaps a trader suggested it directly or merely showed them the brightly colored Acoma pieces which were their competition. By the early 1880s, hundreds of polychrome jars were being produced annually by the skilled potters of San Ildefonso for the tourist and museum trade. In response to this demand, and for almost fifty years thereafter, the potters of San Ildefonso created well molded pots traditionally decorated in black and red, whose size and beauty have not been surpassed.

Most traditional San Ildefonso water jars were painted with a mix of black geometric and floral patterns. With the addition of red paint, the drawings themselves begin to develop into elaborate flowing motifs covering the entire jar. The addition of red heightens the intensity of the black design and seems to urge the painter on to larger, more complex drawing. Previously simple designs are repeated in a larger and more intricate manner.

Nampeyo- Black on Red Hopi Seed Jar, c. 1900- Matthews Gallery BlogNampeyo- Black on Red Hopi Seed Jar, c. 1900

Beginning in the 1880s, an amazing array of both realistic and abstract bird motifs are also introduced along with other pictorial elements. I suspect Nampeyo‘s Sikyatki Revival in Hopi pottery influenced this emphasis upon bird designs. Her seed jar form was clearly copied repeatedly by at least one San Ildefonso potter along with her curvilinear drawings. The shape of the San Ildefonso vessels also evolves, from bulbous jars with small necks to elegant tapered vases with small bases and flared out rims: the classic “Tunyo” form. For fifty years of San Ildefonso pottery making, we can study the steady growth and development of an art form as it crests into a peak!

As Pueblo pottery enjoyed increasing popularity with the American public, many distinguished potters took the polychromes to new heights of creativity and expression. Among these were Maria (1887-1980) and Julian Martinez (1879-1940), Maria’s sister Anna and her husband Crescencio, and Tonita and Juan Roybal. Montoya and Vigil were perfect role models for the younger Martinezes who built upon their success.

Maria and Julian Martinez- San Ildefonso Blackware Plate circa 1925- Matthews Gallery BlogMaria and Julian Martinez, San Ildefonso Blackware Plate, c. 1925

This florescence of polychrome production was brought to an abrupt halt by the Martinezes’ invention of painted blackware around 1920. As Ruth Bunzel, author of The Pueblo Potter, observes, the attraction of the blackware is the minimized painted matte designs which emphasize a dominant polished slip. This subtle, monochromatic aesthetic is the exact opposite of the polychromes where intricate black and red designs were sharply contrasted against the midtone grey sip. In time the blackware style won the marketing war and by 1925 Bunzel could no longer find a single piece of polychrome ware in the village.

It is perhaps ironic that the Martinezes, known best for their blackware, themselves began as polychrome potters and were among the greatest of them. Although most of their output became blackware, Maria and Julian continued to produce occasional polychrome masterpieces up until Julian’s death in 1943. One cannot help but wonder if the bold artistic tradition of the polychrome pottery didn’t occupy a special place in their hearts. Martinez family members and other San Ildefonso potters have continued to produce the polychromes in limited numbers, particularly Popovi Da, his son Tony Da, and today, of course, Cavan Gonzales and Russell Sanchez.

Stay tuned for next week’s blog, where we’ll explore the links between early Pueblo pottery designs and modernist aesthetic innovations. See all of the artwork from NEW LANDSCAPES, NEW VISTAS on our homepage, and connect with us on Instagram, Twitter and Pinterest for daily gallery news. 

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.

AN INSIDER’S GUIDE TO BOHEMIAN PARIS

Dominican Artist Jaime Colson- Self-Portrait- Matthews Gallery Blog

Jaime Colson (1901-1975) was a teenager when he left his homeland of the Dominican Republic to study art in Spain. The talented young painter landed smack in the middle of the Spanish avant-garde, rubbing elbows with Salvador Dali and befriending Rafael Barradas and other artists. Colson lived there for six years and developed a surrealist style. His next move was to perhaps the only place that could be stranger than España surrealisto: 1920’s bohemian Paris.

Colson arrived in the City of Lights in 1924, at the height of Gertrude Stein‘s reign as a powerful salonnière and premiere champion of modernism. In Paris, Colson met Picasso and Braque, Juan Gris and Fernand Leger. He soaked up modernist innovations—and quite a lot of absinthe—like a sponge. Four years later, as a full-fledged Parisian, Colson painted the latest addition to our collection:

Jaime Colson- Cubist Still Life- Matthews Gallery Blog

 

Colson’s Cubist Still Life offers an essential review of the original vie bohème, a painted guide to the colorful, booze-soaked existence of the Lost Generation. Its skewed lines and wild patterns capture all the dynamism of a moveable feast, and the pall of the “green fairy” hangs over its heart. Without further ado, here are seven details that set the roaring scene…

Jaime Colson- Detail of Cubist Still Life- Matthews Gallery Blog

Colson painted Cubist Still Life in 1928, the same year Rene Magritte made his famous Ceci n’est pas une pipeThe pipe that appears near the center of the composition is at once an homage to Magritte’s French surrealism and a nod to Colson’s Spanish surrealist past.

Jaime Colson- Cubist Still Life Details- Matthews Gallery Blog

Pernod Fils was the reigning brand of absinthe in the late 1800s and early 1900s. The anise-flavored, bright green spirit was formulated in Switzerland, and its distillery in Pontarlier, France churned out as much as 30,000 liters of absinthe per day. Knock-offs abounded (Pernot, Perriot and Parrot among them), some of which contained toxic substances and were cheap enough to appeal to many a town drunk. In 1910, the French consumed 36 million liters of absinthe in a year, but by 1915 the drink had been demonized and banned.

After World War I, Pernod Fils introduced a new, lower-proof liqueur d’anise, which is the drink Colson would’ve encountered during his Paris years. However, the famous absinthe pictures by Picasso, Lautrec, van Gogh and the like hail from the golden age of the beverage, before the ban. Perhaps the ghostly bottle of Pernod Fils and the empty glass below it are Colson’s tribute to a madcap age that his contemporaries remembered with longing.

Jaime Colson- Cubist Still Life Details- Matthews Gallery Blog

A cubistic guitar and a trompe-l’œil glimpse at the French newspaper Le Journal refer to modernist art forms Colson was exposed to in Paris. In 1912, Picasso began experimenting with collage, incorporating scraps of fabric and other materials into his oil paintings. Picasso’s Still Life with Chair-Caning, one of the first fine art collages ever made, is on an oval canvas and features a scrap of furniture material. Picasso’s close collaborator Braque soon followed suite, using glue to attach wood-grain papers to his cubist canvases. Colson replicates similar patterns and textures using oil paint in Cubist Still Life.

In late 1912, Picasso made artworks using clippings from Le Journaland also created three dimensional collages called art assemblages, including a cardboard guitar. These are Colson’s strongest references to his modernist contemporaries in the painting, directly addressing Picasso’s tendency to weave real-world events into his works and distort objects in groundbreaking ways.

Colson lived in Paris until 1934. After a short stint in Cuba and another stay in Europe, he returned to the Dominican Republic with a head full of revolutionary ideas. He began blending his European influences with Dominican subject matter, creating images of the rich central American culture the likes of which had never been seen before. Along with Yoryi Morel and Dario Suro, Colson is known as one of the founders of the modernist school of Dominican painting, and is considered one of the great Latin American masters of the 20th century.

Learn more about Jaime Colson on our homepage, and connect with us on Facebook, Twitter and Pinterest for daily gallery news.

 

 

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.