SUMMER OF COLOR: The Artist’s Toolkit

Summer of Color- Matthews Gallery- Santa Fe New Mexico

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- Paint Palette- Matthews Gallery Blog

Tommy Macaione’s Paint Palette

Leon Gaspard- Easel- Matthews Gallery Blog

 

 

Leon Gaspard’s Easel 

Arthur Haddock- Pigment and Oil Bottles- Matthews Gallery Blog

Arthur Haddock’s Pigment and Oil Bottles

Alfred Morang- Sketchbook Teaching Notes- Matthews Gallery Blog

 Alfred Morang’s Teaching Notes

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NEW LANDSCAPES, NEW VISTAS: Four Women

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- Signature Detail- Matthews Gallery

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- Artwork Detail- Matthews Gallery Blog

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- Signature Detail- Matthews Gallery Blog

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.

Doris Cross- Signature Detail- Matthews Gallery Blog

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.

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. 

SPRING OF MODERNISM: Paul Burlin

Paul Burlin- New Mexico Modernist- Matthews Gallery Blog  As our SPRING OF MODERNISM exhibition approaches its closing date on March 31st, we’re sharing the incredible stories of 20th century artists who shook the foundations of the New Mexico art community. This week we have Paul Burlin, who battled blindness to create his magnum opus. 

Paul Burlin (1886-1969) was born in New York City and had a difficult childhood that he preferred not to discuss. He completed his early education in England before returning to New York at the age of twelve.

He left home at 16, and studied part-time at the National Academy of Art and the New York Art Students League from 1900 to 1912. During that time, he worked as an illustrator under Theodore Dreiser and frequented Alfred Stieglitz‘s 291 gallery. At 291, Burlin developed a taste for Picasso‘s ‘primitive’ artwork that lead him to study African tribal art and, later, the art and culture of the Southwest Pueblos.

Paul Burlin- Untitled New 1951- Matthews Gallery Blog

Burlin visited New Mexico for the first time in 1910. Paintings from this visit were received warmly in New York and exhibited in 1911. As a result of his early success, he was the youngest artist (at 26 years old) to participate in the 1913 Armory Show.

The same year, Burlin moved back to Santa Fe to develop a new body of work, and continued to exhibit in New York City. With the images and ideas of the Armory Show still prominent in his mind, Burlin was impressed and moved by what he described as the ‘primeval, erosive, forbidding character of the landscape.’ His early works in New Mexico were genre paintings of the Pueblo Indians in a realist style, but he soon developed a colorful abstract vocabulary ruled by symbols both ancient and modern.

Burlin’s time in New Mexico had a profound impact, not only on his own work, but on the development of modernism throughout the Southwest.  From University of New Mexico art historian Sharyn Udall:

Burlin was the first Armory Show participant to reach New Mexico, and that fact, coupled with his confident handling of local subject matter, made a definite impression on newcomers [Marsden] Hartley and B.J.O. Nordfeldt… It is clear, moreover, that Burlin’s stature as the first modernist painter in New Mexico was unquestioned; his was the pivotal role in introducing fauve and expressionist modes to the art of New Mexico (Udall 1984; 28).

Paul Burlin- Untitled Pivot 1952- Matthews Gallery Blog

Though he moved away from New Mexico in 1920—living in New York and Paris for the rest of his days—Burlin’s artistic evolution in the Land of Enchantment influenced his work for the rest of his life, as evidenced in these canvases from the 1950s. Not long after he made this work, Burlin began to lose his sight. His final series of paintings, completed while he was legally blind, were exhibited at the New York Museum of Modern Art in 1971, two years after Burlin’s death.

From Burlin:

We live in an age of treacherous, harrowing notions of mutability, death and decay…All of the old realities have dissolved…all rigidities of form disappear and enter into a new metamorphosis.  This metamorphosis of form and reality is manifested in shape and color, which destroy visual reality and…shape themselves into a reality of their own.

Learn more about Paul Burlin on our homepage, and connect with us on Facebook, Twitter and Pinterest 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.

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.

BIRTH OF AN ARTIST: Three Mentors of Eric Sloane

Eric Sloane- Hopi Country- Oil on Panel- Matthews Gallery Blog

PROLOGUE

When a historic artwork enters our collection, it’s the first clue in a grand investigation. A painting is a concrete piece of evidence that links to the artist’s evolutionary chain, leading us back through the years.

Eric Sloane’s Hopi Countrypictured above, helped us trace its creator from New Mexico to his hometown of New York City. Along the way we met three of Sloane’s mentors, who are all revered figures in American history.

Frederic W Goudy- Mentor to Eric Sloane- Matthews Gallery Blog

FREDERIC W. GOUDY

Eric Sloane was born Everard Jean Hinrichs in New York City in 1905. Meanwhile in Chicago, Sloane’s future mentor Frederic W. Goudy was experiencing a late-in-life rebirth. At 40 years old, he had quit his job as an accountant to open a publishing house called Village Press with his friend Will Ransom. He learned how to design typefaces and began building a portfolio.

“[Goudy started] almost from scratch at an age when most men are permanently set in their chosen vocations,” wrote Popular Science in 1942. Goudy’s new path would lead him from Chicago to Boston to New York, where he moved in next door to young Sloane.

As Goudy’s career took off with a series of hit typefaces—Kennerly Old Style, Goudy Old Style, Copperplate Gothic—young Sloane learned the tricks of the trade. Goudy would design 122 typefaces in his lifetime, topping Gutenberg and Garamond. His painting lessons for Sloane soon launched one of the great adventures of the budding artist’s life. But first, a scholarly interlude.

John Sloan- Mentor to Eric Sloane- Matthews Gallery Blog

JOHN SLOAN

Sloane changed his name while studying at the Art Students League of New York. He took the middle letters of “America” for his first name, and tweaked the surname of his mentor John Sloan. Sloan encouraged his students to adopt pseudonyms in order to sever ties with their earlier, less accomplished work. He was a passionate and sometimes volatile teacher who believed in art for art’s sake.  “I have nothing to teach you that will help you to make a living,” he would tell his students. Although he was a well-known artist who participated in groundbreaking exhibitions like the 1913 Armory Show, his artwork rarely sold.

Sloan’s circle came to be known for their realist depictions of poor neighborhoods in New York. Sloane never took to this subject matter, but finding a new name was transformative for the young artist. With his patriotic moniker and the skills he’d picked up from Goudy, he took off across the country in the summer of 1923, painting sings on barns and stores to make ends meet. Two years later he took another, longer adventure to New Mexico, one of Sloan’s favorite vacation spots.

Much like other students of Sloan, the light and colors of the New Mexico inspired Sloane to push his art in a new direction. He picked up oil painting and learned to capture the light, color and endless expanses of the High Desert, and returned to Long Island in 1927 with a new sense of purpose.

Wiley Post- Mentor to Artist Eric Sloane- Matthews Gallery Blog

WILEY POST 

Sloane grew up during the Golden Age of Aviation. By 1933, his fascination with aircrafts lead him to a job at the Half Moon Hotel, which was close to Long Island’s Roosevelt Field. The aviators who stayed at the inn became some of Sloane’s first patrons, paying him to make oil paintings of their planes. Aviator Wiley Post was so impressed by Sloane’s work that he offered to swap flying lessons for painting lessons.

Post had trained to be an aviator during World War I, but the war ended before he entered active duty. He worked as a parachutist for a flying circus and a barnstormer before becoming a private pilot for wealthy Oklahoma oilmen. The job earned him enough money to set out on a worldwide adventure, and he became the first pilot to fly solo around the globe.

Sloane was so inspired by his flights with Post that he began painting the sky, as seen from the cockpit of a plane. Amelia Earhart bought the first work in this new series, and one of Sloane’s largest cloud paintings is now in the permanent collection of the Smithsonian Air and Space Museum. At 28 years old, Sloane had grown from an eager student to a full-fledged master.

Artist Eric Sloane under a New Mexico Sky- Matthews Gallery Blog

EPILOGUE

Sloane started painting landscapes in the style of the Hudson River School, a mode that fit his fascination with turbulent weather. Beginning in the 1950’s, he took up residence in Taos for part of each year. He built a home in La Tierra, New Mexico in 1975. Sloane captured the light and color of the Land of Enchantment with boundless enthusiasm. Hopi Country features every brilliant hue in a Land of Enchantment sunset.

Over the course of his career, Sloane produced over 15,000 artworks and 38 illustrated books. He died of a heart attack in 1985 on the steps of New York’s Plaza Hotel, on his way to a luncheon in his honor. The event was a celebration for the release of his biography, ‘Eighty: An American Souvenir.’

It’s quite a tale, and it all unwound from a single oil painting on our wall! Learn more about Eric Sloane on our website, and make sure to connect with us on Facebook, Twitter and Flickr for daily gallery news.