Editing Taos art colony (section)

==Art colony==

===Taos Society of Artists===
{{main|Taos Society of Artists}}
[[Bert Geer Phillips]] and [[Ernest L. Blumenschein]] came to [[Taos, New Mexico]] as part of a tour of the western United States, but upon seeing Taos, decided to stay.{{sfnp|Bleiler|2011|p=75}}

An article with drawings by Blumenschein about a ceremony at [[Taos Pueblo]] appeared in the April 30, 1898, issue of ''[[Harper's Weekly]]''.<ref>"Behind The Scenes at a 'Wild West' Show," Ernest L. Blumenschein, [[Harper's Weekly]], 42 (April 30, 1989), 422–23.</ref>

Within a few years other American and European-born artists joined them in Taos: [[Joseph Henry Sharp]], [[W. Herbert Dunton]], [[E. Irving Couse]] and [[Oscar E. Berninghaus]]. These six artists were the charter members of the [[Taos Society of Artists]].{{sfnp|Bleiler|2011|p=75}}

The Taos Society of Artists works heralded the beginning of the Taos art colony, a groundbreaking association of European trained painters that collected around the visually spectacular [[Taos Pueblo]] in the [[Southwestern United States]]. The founding members fostered the emergence of a major school of American painting. Unlike other 'schools' or styles that emerged around the turn of the 19th century in the United States, the early Taos Colony artists were not united under a single manifesto or aesthetic ''modus'', but equally lured by the stunning and, as yet, foreign environs.<ref name="Taos Daily">Whaley, Bill; Stiny, Andy. [http://www.taosdaily.com/index.php?fuseaction=home.viewarticle&article_id=2789 "Reconsidering Art in Taos; Bert Phillips"] {{webarchive|url=https://web.archive.org/web/20120310092234/http://www.taosdaily.com/index.php?fuseaction=home.viewarticle&article_id=2789 |date=2012-03-10 }} in ''Taos Horse Fly'', February 17, 2009.</ref>

<gallery widths="200px" heights="210px">
File:Blumenschein-Star Road and White Sun 1920.jpg|Ernest Blumenschein, ''Star Road and White Sun'', 1920, [[Albuquerque Museum of Art and History]]
File:Elk Foot of the Taos tribe.jpg|E. I. Couse, ''Elk Foot of the Taos Tribe'', 1909, [[Smithsonian American Art Museum]], Washington, DC
File:Making Sweet Grass Medicine.jpg|[[Joseph Henry Sharp]], ''Making Sweet Grass Medicine, Blackfoot Ceremony,'' ca. 1920, Smithsonian American Art Museum
File:William Herbert Dunton - The horse rustler.jpg|William Herbert Dunton, ''The Horse Rustler,'' ca. 1915
</gallery>

===Mabel Dodge Luhan===
[[File:Mabel Dodge Luhan - Van Vechten.jpg|thumb|''Portrait of Mabel Dodge Luhan'', [[Carl Van Vechten]], 1934|upright]]

Many artists were drawn to Taos due to the presence of [[Mabel Dodge Luhan]], a wealthy heiress from Buffalo, New York{{sfnp|Luhan|1987|pp=120, 291}} who had run a prominent [[Salon (gathering)|art salon]] in [[Florence, Italy]], and [[Manhattan, New York]], before settling in Taos in 1917. After both divorced their spouses, Mabel Dodge married a [[Pueblo people|Pueblo]] native, Antonio Lujan, and built a house. She spelled her married name "Luhan" as it was easier for her friends to pronounce.<ref name=CG>{{cite web |url=http://www.collectorsguide.com/ts/tsfa14.shtml |title=Mabel Dodge Luhan House in Taos NM, Legendary connections have happened in this house |year=1995–2011 |publisher=Collector's Guide  |access-date=2021-08-11}}</ref><ref name=TU/>

While in the Southwest, Luhan carried on the tradition of the European salon in its newest of iterations. For decades, she invited artists, writers, and people from other disciplines to be inspired by Taos and each other. Among them were [[Ansel Adams]], [[Georgia O'Keeffe]], [[Alfred Stieglitz]], [[Nicolai Fechin]], author [[D. H. Lawrence]] and his wife, [[Frieda von Richthofen]]. Artist [[Dorothy Brett]] came to Taos in 1924 with her friends D. H. Lawrence and Frieda von Richthofen and later permanently settled there.<ref name=CG/>

[[Georgia O'Keeffe]] settled in New Mexico in the Mabel Dodge Luhan era, but mostly kept her distance, to Mabel's annoyance.. She stayed in one of Mabel's houses in Taos in the summer of 1929 with [[Rebecca Strand]], [[Paul Strand]]'s wife, painting the country around Taos and getting to know the country. According to [[Calvin Tomkins]], in a 1974 interview, "She rather liked Mabel Dodge Luhan—was amused by her, even when Mabel was at her bullying worst. Mabel and [[Dorothy Brett]], the painter, and [[Frieda Lawrence]], who had settled near Taos after [[D. H. Lawrence]] died, in 1930, carried on a running three-cornered feud. They had all idolized Lawrence, and each considered herself in some way his true muse—a situation that reached lunatic heights during their protracted squabble over Lawrence’s ashes. To prevent Mabel from stealing and scattering the ashes (as she claimed Lawrence had wished), Frieda finally had them mixed with a ton of concrete and formed into a block." The block remains on the [[D. H. Lawrence Ranch]] above Taos.<ref>[https://www.newyorker.com/magazine/1974/03/04/the-rose-in-the-eye-looked-pretty-fine Georgia O’Keeffe’s Vision] by Calvin Tomkins, ''The New Yorker'', March 4, 1974 Issue, accessed 5/29/2018</ref>

===Andrew Dasburg===

Parisian born [[Andrew Dasburg]] (1887–1979) was one of the earliest friends of Luhan to come and stay in Taos. He first came to Taos in 1918,<ref name="aaa.si.edu">{{cite web | author=Corley, Eri |url=http://www.aaa.si.edu/collectionsonline/dasbandr/overview.htm | title=A Finding Aid to the Andrew Dasburg and Grace Mott Johnson Papers, 1833-1980 (bulk 1900-1980) | work=Archives of American Art | publisher=Smithsonian Institution}}</ref> and moved to [[Santa Fe, New Mexico]] in 1921, when he integrated the boxy traditional construction styles in [[New Mexico]] into his [[Cubism|Cubist]] art.<ref>{{Cite news |last=Zimmer, William |date=October 27, 1996 |title=Mexico, Both Sides of the Border, From the Century's First Half |work=The New York Times |url=https://query.nytimes.com/gst/fullpage.html?res=9805E6D81430F934A15753C1A960958260 |access-date=October 30, 2007 |postscript=" Andrew Dasburg worked with the idea that New Mexican towns and villages, with their arrangements of box-like buildings, constituted a kind of Cubism in the flesh. His ''Taos Houses (New Mexican Village)'' is a good example of this."}}</ref> In Taos, Dasburg became a mentor to a group of artists known as "[[#Taos Moderns|Taos Moderns]]".<ref name=TaosModerns/> A leader in the Cubism movement, his works are in the collections of the [[Whitney Museum of American Art]], the [[Metropolitan Museum of Art]] and the [[Denver Art Museum]], among others.<ref name=NYTObit>{{cite news |title=Andrew Dasburg, Cubist Painter, Dies. |url=https://www.nytimes.com/1979/08/14/archives/andrew-dasburg-cubist-painter-dies-said-to-be-last-surviving-artist.html |quote=Andrew Dasburg, a painter who was said to be the last survivor of the artists who contributed work to the Armory show of 1913, died yesterday in Taos, N.M. He was 92 years old. |newspaper=New York Times |date= August 14, 1979|access-date=2007-09-25 }}</ref>

<gallery widths="250px" heights="220px">
File:Andrew-Dasburg.jpg|Andrew Dasburg, American Painter, 1940s
File:Andrew Dasburg - Improvisation.jpg|Andrew Dasburg, ''Improvisation'', c.1915-1916
</gallery>

[[File:D H Lawrence passport photograph.jpg|thumb|D. H. Lawrence|upright]]

===D. H. Lawrence===
Inspired by the area and artists, [[D. H. Lawrence]] (1885–1930) painted while in Taos, signing his work "Lorenzo"; Nine of his paintings are displayed at La Fonda Hotel on the [[Taos Plaza]].<ref name=TU>{{cite web |url=http://colony-t.nm-unlimited.net/ |title=Taos as an Art Colony: From the Taos Society of Artists to the Present |year=2006–2011 |work=Taos |publisher=Taos Unlimited |access-date=2011-05-31}}</ref>

[[File:O'Keeffe-(hands).jpg|thumb|Photograph of Georgia O'Keeffe by Alfred Stieglitz in 1918.|upright]]

===Georgia O'Keeffe===
A friend of D. H. Lawrence, [[Georgia O'Keeffe]] (1887–1986) began to spend summers with the Lawrences starting in 1930. O'Keeffe's inspiration led Lawrence to discover he had a talent for painting, too. She made iconic, colorful paintings of flowers and bones she collected during her walks through the desert. In 1940, she bought her first home in [[New Mexico]]. Her husband, [[Alfred Stieglitz]], preferring to stay in New York, O'Keeffe spent much of the year with him. Upon his death in 1946, O'Keeffe moved permanently to her New Mexico home, in an area known as [[Ghost Ranch]], and later built a home in [[Abiquiu, New Mexico]].<ref>{{cite web |url=http://colony-t.nm-unlimited.net/Pages/Bios/GeorgiaO'Keeffe.html |title=Georgia O'Keeffe: An American Modernist Icon |work=Taos Art Colony |publisher=Taos Unlimited |access-date=2021-08-11}}</ref>

===Nicolai Fechin===
Like Lawrence, Russian artist [[Nicolai Fechin]] (1881–1955) suffered from [[tuberculosis]] and found Taos helpful for managing his health. In 1927, Fechin moved to Taos with his wife and daughter. For a time they lived with Luhan, but soon purchased an adobe home that was renovated into a [[Nicolai Fechin House|beautiful, unusual home]] with Russian wood carvings. The [[Taos Art Museum]] is located inside the Fechin House.<ref name=TU/>

<gallery  widths="300px" heights="230px"  >
File:Fechin House - Daughters Playroom.jpg|Nicolai Fechin House, Daughter's Playroom
</gallery>

===Ansel Adams===
[[Ansel Easton Adams]] (1902–1984) was a photographer, best known for his black-and-white photographs of the American West. In 1930, Taos Pueblo, Adams's second portfolio, was published. In New Mexico, he was introduced to notables from [[Alfred Stieglitz]]'s circle, including painter [[Georgia O'Keeffe]], artist [[John Marin]], and photographer [[Paul Strand]], all of whom created famous works during their stays in the Southwest.{{sfnp|Alinder|Stillman|Adams|Stegner|1988|pp=73-74}}

<gallery widths="280px" heights="230px">
File:Ansel Adams and camera.jpg|Ansel Adams and camera, photograph by [[J. Malcolm Greany]]
File:Ansel Adams - National Archives 79-AA-Q03.jpg|''Church, Taos Pueblo, National Historic Landmark, New Mexico'', photograph by Ansel Adams, 1941.
File:Ansel Adams - National Archives 79-AA-Q04.jpg|''At Taos Pueblo, National Historic Landmark, New Mexico,'' photograph by Ansel Adams, 1941.
</gallery>

===Other early 20th-century artists===
[[Cordelia Wilson]], an artist from Georgetown, Colorado developed her skills as an artist motivated by latest trends in American realism led by Robert Henri. Her academic training emphasized development of an alla prima technique and painting out of doors, which inspired her to produce bold impasto works quickly. She started making road trips to New Mexico and became friends with painters in the Taos Society of Artists and the Santa Fe art colony. Her numerous expressive oil sketches and en plein air canvases of adobe dwellings and rugged landscapes caught the attention of art dealers.<ref>{{cite web |url=http://www.intofineart.com/oil%20painting%20artist/Cordelia%20Creigh%20Wilson.html |title=Cordelia Creigh Wilson  |publisher=Steve Art Gallery LLC |access-date=2011-05-31}}</ref><ref>{{cite book | title=El Palacio | volume=5 | editor=Walter, P | publisher=Museum of New Mexico, Archaeological Society of New Mexico, School of American Research (Santa Fe, N.M.) | location=Santa Fe | year=1918 | pages=90–91  | url=https://books.google.com/books?id=f25IAAAAYAAJ&pg=PA91 }}</ref>
<gallery widths="280px" heights="230px">
File:Cordelia Wilson - Autumn Sangre de Cristos.jpg|''Autumn in the Sangre de Cristos'', ca. 1915–1920, Cordelia Wilson, Private collection
File:Cordelia Wilson - Indian Corn and Mexican Vase.jpg|''Indian Corn and Mexican Vase'', Cordelia Wilson, ca. 1915-1920s, Private collection
</gallery>

[[Maynard Dixon]] (1875-1946), a California born artist who specialized in painting South Western landscapes, people and architecture, visited and resided several times in New Mexico and Taos, coming first in 1900 with the writer [[Charles Lummis]] and later in 1931 in Taos with his wife the photographer [[Dorothea Lange]]. He produced dozens of drawings and painting during these visits and stays, while declining to join the Taos Society of Artists to which he had been invited by [[Ernest Blumenschein]].<ref>{{Cite web|url=https://www.canyonroadarts.com/maynard-dixons-new-mexico/|title=Maynard Dixon's New Mexico &#124; Canyon Road Arts}}</ref>

[[Rebecca Salsbury James]] (1891–1968) was largely a self-taught artist, although, after coming to Taos she was influenced by friend, Georgia O'Keeffe. She is most known for her work with reverse oils on glass and also worked in oils, pastels and a Spanish folk art form, [[colcha embroidery]].<ref>{{cite web |url=http://www.harwoodmuseum.org/exhibitions/view/3 |title=February 20 - June 06, 2010, Rebecca Salsbury James: Paintings and Colchas |work=Exhibitions |publisher=Harwood Museum |url-status=dead |access-date=May 31, 2011 |archive-date=October 6, 2011 |archive-url=https://web.archive.org/web/20111006060019/http://www.harwoodmuseum.org/exhibitions/view/3 }}</ref>

[[Ouray Meyers]], a Taos artist, is the son of Ralph Meyers who was an artist, writer, and trader who was good friends with members of the [[Taos Society of Artists]], such as [[Joseph Henry Sharp]] and [[W. Herbert Dunton]]; He was also a friend of Leon Gaspard, [[Nicolai Fechin]], [[Dorothy Brett]], and [[Georgia O'Keeffe]]. As a boy, Ralph Meyers met the artists who often visited his parents’ home. Meyers developed his own unique style, influenced by the early Taos painters.<ref name=TU/>

In 1923, [[Akseli Gallen-Kallela]] departed for the US to organize an exhibition at the [[Chicago Art Institute]] and retrieve his works, which had been lost there since the [[Panama–Pacific International Exposition|Panama-Pacific International Exposition]] in 1915. He successfully located most of them and showcased them in the exhibition. During his time in the country, he painted landscapes and portraits, and he also traveled around extensively. Homesick, he was joined by his wife and daughter in 1924. They spent some time in the artist colony in Taos, New Mexico, before continuing their travels and ultimately returning to Finland in the spring of 1926.<ref>{{Cite web |date=2020-11-17 |title=Akseli Gallen-Kallela ja Taos |url=https://blogit.uniarts.fi/post/akseli-gallen-kallela-ja-taos/ |access-date=2023-12-24 |website=Taideyliopiston blogit |language=fi}}</ref>