Kelpe, Paul

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A German artist whose signature painting is abstraction based on constructivism, cubism and geometric abstraction, Paul Kelpe was born in Minden, Germany. Art scholar, Joan Marter, has stated that constructions by Kelpe in the late 1920s “were the earliest examples of such work in the United States” . . .(Kennedy 127). Characteristic of constructivism, his pieces were combinations of two and three-dimensional artwork that incorporated found objects.

Kelpe studied art in Hanover, Germany and was introduced there to the work of modernist artists such as Wassily Kandinsky, El Lissitsky, Laszlo Moholy-Nagy, Naum Gabo and Kurt Schwitters, a pioneering constructivist. Schwitters was an especially influential artist on Kelpe, but Kelpe did not like the casual, messy paint application methods of Schwitters and adopted a style of carefully applied paint devoid of visible brush strokes within geometric forms

Kelpe immigrated to the United States in 1925 and spent several years in New Jersey and New York City and in the early 1930s, settled in Chicago where from 1930 to 1939, he was a WPA (Works Progress Administration) muralist. Then he returned to New York City in the 1940s and 1950s, and from 1969 to 1985, he was in Austin, Texas where he taught at East Texas Teachers College.

Working in Chicago, he was puzzling to many persons because of his total dedication to abstraction in an artistic climate still focused on realism. J.Z. Jacobson wrote a compendium of modern art in Chicago that was published in 1932, and Kelpe was the only artist in the book represented by abstract art. In 1931, he had an attention-getting exhibition of many of his constructions at Chicago’s Little Gallery. Of this event, Kelpe wrote that this “was the first time than any one-man shows of abstract art took place in Chicago.” (Kennedy 127)

However, Kelpe did do some realist work when he was a WPA muralist. His mural for the Southern Illinois University Library followed the prevailing American Scene style. One of his murals, typical of many New Deal murals, described the history of industry, agriculture and commerce in southern Illinois. A description of that mural was: “The mural looks back to a supposedly simpler time when pioneers triumphed over adversity and built the nation through hard work, community, and strength of character. The results of all this industry–the growing fields, the commerce on the river, the school, even the children–are offered as proof that progress and community were achieved despite frontier conditions.” (Archives)

Rebelling against these kinds of stylistic strictures tied to realism, Kelpe moved to New York in 1936 to a climate that allowed more stylistic flexibility . He continued as a muralist for three more years, but in abstract styles and became a founder of the American Abstract Artists, which he served as secretary from 1936 to 1941. This organization was dedicated to modernist art and movements rooted in Europe, especially Paris, and was a reaction against the prevalent Social Realism espoused by Robert Henri and his Ash Can school of painters.

Sources include:
Elizabeth Kennedy, “Chicago Modern, 1893-1945″
“A New Deal for the Arts”, the National Archives Building in Washington, DC.
Peter Falk, “Who Was Who in American Art”

Jenkins, Paul

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ENTER BIO TEXT HERE.

Lantz, Paul Valentine

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Born in Stromsberg, Nebraska (1908), Paul Lantz spent his early childhood in Montana and Missouri. He moved to Missouri and studied at the Kansas City Art Institute, where he was then the youngest student ever to be enrolled. At age seventeen, he went to New York for further study at The National Academy and Art Students League, and then to Europe for further art study (1926), and then back to New York. From there he went to Santa Fe New Mexico where from 1929 to 1939, he worked with artist Randall Davey.

He then traveled widely including upstate New York, Mexico, Central America, England, Ireland and the Philippine Islands. He had a one-man exhibition in New York City and was illustrator for the US Army in WWII, enlisting in 1942. In an infantry-combat division, he was in New Guinea, and Luzon, Phillipine Islands. He moved to San Francisco in 1946 and painted several murals. He then moved to and painted in upstate New York and in 1974, moved back to New Mexico.

BOOKS – over 35 to his credit (childrens etc):

* RIDING THE DANGER TRAIL, Evelyn Danberg Teal (NY: A.S. Barnes and Co., London: Thomas Yoseloff Ltd.)
* BLUE WILLOW, Doris Gates
* THE LOST DOG, Edwin Way Teale (Dodd-Mead) have (2)1961 hardbacks, signed
* THE MATCHLOCK GUN, Walter D. Edmonds (Dodd-Mead & Co. New York), Walter D. Edmonds Newberry Medal Award Winner (1942)
* THEIRS IS THE KINGDOM, Jack MacLeod (Westminster Press, Philadelphia)
* NAVAJO SISTER Evelyn Sibley Lampman (Doubleday and Co.)
* LITTLE NAVAJO BLUEBIRD, Ann Nolan Clark (Viking Press)
* THREE DOLLAR MULE, Clyde R. Bulla (Thomas Y. Crowell Co. NY)
* CLOWN DOG, Lavinia R. Davis (Doubleday and Co. Garden City, NY)
* WHEN THE COWS GOT OUT, Dorothy Koch (Guild-Holliday House)
* PATRICK VISITS THE LIBRARY, Maureen Daly (Dodd-Mead & Co. NY)
* TOM WHIPPLE, Walter d. Edmonds pub. Dodd-Mead and Co.
* MILENKAS HAPPY SUMMER, Mary Libal Barker (Barker-Dodd-Mead) Received Bride-Mead Librarian-Teacher Prize Competition Award

MUSEUMS: partial list that include, display – purchased his art and-or have this artist in their collection
* Museum of New Mexico,
* New York Historical Society,
* Metropolitan,
* Old Stone Fort Museum of Schoharie, NY;
* Archbishop Lamy Cathedral in Santa Fe, NM
* Wichita Art Museum

PARTIAL LIST OF COMMISSIONED MURALS:
* Mural in United Nations Bldg., NY
* Mural at March Field Air Force Base, Calif.
* Art Collection – La Fonda – Santa Fe,
* Jefferson Barracks in Missouri
* La Fonda Hotel, Santa Fe, NM
* Los Poblanos estate of Albert Simms
* The U.S. Post Office at Clovis in the halls of the University of New Mexico

PARTIAL LIST OF COLLECTORS
* Mrs. Vivian Yarborough
* Mrs. Marshall Field
* Theodore Roosevelt Jr.
* Cyrus McCormack
* Mrs. Clyde Porter
* Mrs.James Kennedy
* Mr. Duluka : In Colorado at Trinadad Jr. College (school has 8 book illustrations )
* Dave Linder: NM, Pharmacist who traded house and land in Springer, NM. for paintings

PARTIAL CATALOG REFERENCE
* Southwestern Art, Volume V, Number 4 / Winter, 1976-1977
* Classified as a “Modern Old Master” James Swinnerton (1875-1974)

A pioneer comic artist, James Swinnerton is most often credited in histories of the funnies for things he never did. He never drew anything titled Little Bears and Tigers, and the feature he did draw about bears was not the first newspaper strip. In fact, it wasnt a comic strip at all. A talented artist, Swinnerton did, however, contribute significantly to the development of comics in the more than 60 years he worked as a cartoonist. His most successful strip was Little Jimmy, and he’s the one who introduced his friend George Herriman to the Arizona desert that became the permanent locale for Krazy Kat. Swinnerton, too, put the desert country to good use in his own work.

James Guilford Swinnerton was born in Eureka, California, where his father was a judge, a publisher of a weekly paper, and a staunch Republican. Swinnerton studied at the California Art School in San Francisco and went to work for the Examiner in 1892, the first of William Randolph Hearsts newspapers.

In 1887 Hearst had taken over the faltering little Examiner daily, and most of the tricks that became Hearst trademarks were first tried out it it. As a boy, Hearst had become interested in German humor magazines, and while at Harvard he had worked on the Lampoon. For his new paper he wanted drawings and funny pictures, which was where Swinnerton came in.

At first Swinnerton was only a part-time comic artist. It was not until he got back to New York several years later that he was allowed to do comics full time. Because there was still no practical way to use photographs in a newspaper in 1892, all pictorial reporting was done by sketch artists. These artists, Swinnerton included, covered parades, crimes, trials, sports, etc. Swinnerton even had to go out to sketch high school field days. Once, to cover a hotel fire down the coast in Monterey, Hearst hired a train and shipped a whole carload of reporters and artists to cover the event.

The Little Bears, one of the earliest comic art features in an American newspaper, started out as spot drawings to decorate the weather reports, inspired by the bear on the California state flag. His little bears multiplied and began to show up throughout the paper, to be used in promotion stunts. In the mid 1890s, Swinnerton also started turning out large quantities of drawings of his small kids, whom he liked to call tykes. Often the bears and the tykes would get together in parades that stretched across the bottom of a page. They were sometimes referred to editorially as Little Bears and Tykes, but they never appeared in an actual comic strip.

Impressed by the public response to his work, Swinnerton asked for a raise of $2.50 a week, but the editors didnt feel he was worth the extra money. He quit and headed for New York City, where Hearst had bought the New York Journal in 1895. Hearst was involved in circulation wars with Pulitzer’s New York World, and most of the many other local dailies, and one of the results of the battles with Pulitzer was the Sunday comic section. Cartoonists were brought back and forth, and for a time The Yellow Kid ran in both the Journal and the World. Finally, Hearst produced a color comics section.

Swinnerton’s little bears had always been favorites of Hearst. For the Journal, however, Hearst suggested they be transformed into tigers. Gradually the tigers developed — from a pantomime strip into a Sunday page complete with dialogue balloons. This version, titled Mr. Jack from 1903 on, dealt with a domesticated tiger that had an office job, a wife, and quite a few lady friends.

During this early trial period, when color comics were expensive and there was some doubt that they would ever catch on enough to turn a profit, Swinnerton continued to do sports cartoons on the side. In 1904, he turned again to tykes and introduced Little Jimmy, a very small boy who shared his first name. Originally titled just Jimmy, the feature began life as a Sunday page. With some lapses, and a hiatus or two, Swinnerton drew the feature until 1958. A daily was added in 1920, at which time the name was changed to Little Jimmy. Swinnerton drew in a simple, uncluttered style, using very little shading and favoring long shots to close-ups.

When comics began to pay off, the Journal decided to let Swinnerton draw them to the exclusion of everything else, which meant the paper needed a new sports cartoonist. Asked to recommend a replacement, Swinnerton said, “Theres a fellow named Dorgan out in San Francisco, calls himself Tad. But if youre going to get him, you’d better send for his friend, Hype Igoe.” The paper sent for the pair, and both became successful sports cartoonists and reporters. Swinnerton once estimated he had helped over three dozen artists get started, ranging from illustrators such a Harold Von Schmidt to newspaper cartoonists such as Darrel McClure and Robert Ripley.

In the first decade of the century, doctors advised Swinnerton that his days were limited. Resigned, he moved to Arizona to await the end. He kept right on waiting, but he didn’t die; instead he fell in love with the desert country. He used the scenery in Canyon Kiddies, a handsome color page he drew for Hearst’s Good Housekeeping from the early 1920s to the middle of the 1940s. He didn’t relocate the diminutive Jimmy to Navajo country until the late 1920s. The Canyon Kiddies also became frequenters of the strip. Swinnerton started painting desert landscapes, too, and remained a painter even after he was no longer able to cartoon.

Mitchell, Joan

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A leading figure of the second generation of Abstract Expressionists in New York City, Joan Mitchell said that although her paintings seemed total abstractions, they were, in fact, “about a feeling that comes to me from the outside, the landscape.”

She distinguished herself from other Abstract Expressionists because she had a pre-established design, a single image, to anchor her painting rather than leaving the result to subconscious, totally emotion-based expression.

Mitchell was born and raised in Chicago by parents who were wealthy and socially prominent. Her father was a successful doctor, and her mother a poet, and both supported her apparent early art talent. She attended Frances Parker School, a private high school whose faculty encouraged her interest in painting. For two years, 1942 to 1944, she enrolled in Smith College but was unsettled because she wanted to focus more on art. She transferred to the Chicago Art Institute, earning a B.F.A. in 1948 and an M.F.A. in 1950. There she was much influenced by the work of French modernist Paul Cezanne and Cubist painters.

From 1948 to 1949, Mitchell had a traveling scholarship to France, which was an unhappy time for her because her living conditions were a rat-infested, unheated apartment and her sense of direction about her artwork unfocused.

Joan Mitchell then lived in Greenwich Village in New York City, where she came under the influence of the Abstract Expressionists with whom she socialized at the Cedar Bar. She described them as “a group against the world”. She was particularly influenced by the work of Willem de Kooning, Arshille Gorky and Franz Kline and adopted their methods of strong, gestural brush-work and aggressive color.

In 1951, her paintings were chosen to be part of the Abstract Expressionists “Ninth Street Show”, and this exposure stirred much positive attention for her canvases. She had her first solo exhibition in 1952 at the New Gallery. A critic described her work as “heroic-sized cataclysms of aggressive color-lines in a savage debut that shows her moving further and further from Cubist order.”

Much of her painting during this time had calligraphic images, curving lines of green, purple and blue against whitish backgrounds. Some likened this expression to the movements she experienced as a child-champion ice skater in Chicago.

By the end of the 1950s, Mitchell like other Abstract Expressionists was finding less and less interest in her work because of the popularity of Pop Art and Minimalism. By 1959, she had moved permanently to France where she lived in relative isolation with Jean-Paul Riopelle, a Canadian painter, in Vetheuil, a village close to Paris. Their home was on a hill with a view of fields and water, and her paintings with colors of oranges, pinks and gold reflected the light she saw in the countryside.

Her painting schedule was to begin painting in the late afternoon and work throughout the night, listening to music and pacing around. Although her paintings have much energetic movement of line, shape and color, she painted slowly and carefully from preliminary charcoal sketches. The effect was spontaneity, but in fact, she was much in control, painting only about twenty canvases a year and discarding many that she judged inferior.

In 1973 she had a major one-woman show at the Everson Museum in Syracuse, New York, and in 1974 at the Whitney Museum.

Joan Mitchell died of lung cancer in 1992 at the age of 66.

Source:
Charlotte Rubinstein, American Women Artists, 282-283.

Pearce, Helen S.

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Helen was born in Reading PA in 1895 and lived the majority of her life in Albuquerque New Mexico.  She is known for many of her excellent landscape scenes from many places she traveled.  She graduated from Philadelphia School of Design for Women in 1923 and studied abroad with a group in Florence Italy.

After her graduation Paul Ancona followed her on her travels to Europe and after patiently waiting for their license from the Archbishop of Canterbury they were married in St. George’s Hanover Square in London.

She continued her studies in art at the University of New Mexico from 1941-44 with Raymond Jonson, Kenneth Adams and Randall Davey.

Other artists Helen knew and studied with included; Kenneth Nack, George Bridgeman and Henry Snell, Leopold Seyffert and Lucile Howard.

Source: paulbradleysmith.com

Woytuk, Peter

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This successful American sculptor’s large scale sculptures were in a major show from October of 2011 through the summer of 2012, in New York City, with Art on the Malls, a Park and Recreation Public Art program. This public exhibition of 18 whimsical sculpture pieces shows his ability to delve into the elements of form, color, and texture. What is remarkable is how people greet these sculptures. People of all ages become playful and have been known to climb on the sculptures.

The sculptor picked bulls as some of his subjects because he was attracted to their “sprawl of mass” and made them even more broad and colossal. Woytuk’s old professor, Art Gunderson from Kenyon College sums up why his former student is titled the “greatest animal sculptor in the Western world.” “Peter has the ability to transform an animal form into something that’s accurate, truthful, and beautiful. He uses animals to say other things. His work is rich with symbolism, existing in many layers.”

Peter Woytuk was born in St. Paul Minnesota and raised in Massachusetts. He grew up in a visual and artistic family. His dad was a prominent architect and his mother is a talented textile artist. They opened Peter’s eyes to art and architecture through numerous trips to Europe. He went on to study at Kenyon College with a focus on photography. It was not until he apprenticed with sculptor Phillip Gausman that he developed the techniques of modeling clay, mold making and bronze casting. He started to get high profile commissions such as four life sized African elephants for the North Carolina Zoological Park, and his career began to flourish.

Woytuk needed to find foundries that have the ability to single pour extremely large scale sculptures. Thailand and China by tradition are expertly able to cast his designs. He has now relocated to Thailand where he lives most of the year. Woytuk exhibits throughout Asia with a strong presence in the United States.

His sculpture is in numerous Public Collections such as Jing, A Sculpture Park, People’s Republic of China, Children’s Hospital, Bangkok, Thailand, City of Palm Beach, Palm Beach, Fl and he North Carolina Zoo Park, Charlotte, NC.

Scarlett, Rolph

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b. 1889, Guelph, Ontario; d. 1984, Woodstock, New York

Born on June 13, 1889 in Guelph, Canada, and into an artistic family, Rolph Scarlett spent his teenage years as an apprentice in his uncle’s jewelry firm and briefly studied at the Art Students League, New York. While working in the jewelry industry, Scarlett found time to paint and design theatrical sets in his free time, including one for the 1928 world premiere of Eugene O’Neill’s drama Lazarus Laughed (1926). In 1923, while on a business trip to Switzerland, Scarlett had met the artist Paul Klee and soon after abandoned his figurative painting style in favor of an abstract language that suggested more universal, cosmic truths.

In 1937, after permanently settling in New York, Scarlett became acquainted with the artist and curator Hilla Rebay, the first director of the Museum of Non-Objective Painting (renamed the Solomon R. Guggenheim Museum in 1952). Rebay provided Scarlett with a Guggenheim Foundation scholarship to paint full-time and obtained several of his paintings for the museum’s collection. From 1940 to 1946, Scarlett served as the museum’s chief lecturer, giving Sunday afternoon talks on art. Through Rebay, Scarlett became acquainted with the nonobjective works of Rudolf Bauer and Vasily Kandinsky and further refined his abstract style. Works from this era such as Yellow Bar (1942) are defined by overlapping geometric planes of bright, primary colors set against mute backgrounds. Scarlett avoided any reference to the outside world and believed that nonobjective painting was an act, in his words, of “pure creation.”

During his lifetime, solo shows of his work were held at the Jacques Seligmann Gallery, New York (1949); Sioux City Art Center, Iowa (1951); and Washburn Gallery, New York (1982). In addition to appearing in several important group shows at the Museum of Non-Objective Painting and the Guggenheim Museum, Scarlett’s work was also presented at the Metropolitan Museum of Art, New York (1950); Whitney Museum of American Art (1951); and Museum of Art, Carnegie Institute, Pittsburgh (now Carnegie Museum of Art, 1983). In his later years, Scarlett moved to upstate New York and continued to paint and design jewelry. Scarlett died on August 7, 1984, near Woodstock, New York.

-from guggenheim.org

Reiss, Winold

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Winold Reiss was a uniquely gifted artist and designer of the twentieth century, a bold pioneer whose work included a rich variety of portraits, distinctive interiors, and a multitude of cutting-edge graphic designs that lifted the quality of color and black-and-white design in America.

The art of this German immigrant is still being discovered today by American critics and patrons, but his public popularity began during the 1920s when his portraits of the ‘New Negroes’ in Harlem and his African-inspired designs were enthusiastically received, along with his portraits of the Blackfeet and Blood Indians of the American Northwest and Canada, many of which illustrated the Great Northern Railway calendars. Reiss believed that by picturing the honor, beauty, and dignity of all peoples, his art could help break down racial prejudices and testify to what Johann Wolfgang von Goethe called the “unity of all creation.” His wish was to use art to change the world.

Born in Karlsruhe, Germany, Winold was the son of Fritz Reiss, a painter trained at the Düsseldorf Academy, who made drawing and painting the German landscape and its peasants his life work. Fritz Reiss was his son’s first teacher, but after that tutelage, Winold went to Munich where he attended both the Royal Academy of Fine Arts (Kunstakademie), studying with Franz von Stuck, and the School of Applied Arts (Kunstgewerbeschule), where he studied with Julius Diez. He emigrated to America in 1913 and settled in New York City, where he quickly became well known for his strong, colorful graphic designs as well as for his modern commercial interiors.

Coming to America also gave Winold the opportunity to meet and paint portraits of Native Americans, the American Indians who had fascinated him when as a boy he had read the Wild West stories of Karl May and the Leatherstocking Tales of James Fenimore Cooper. In 1920 he traveled to Browning, Montana, where he drew portraits of Blackfeet elders who had survived the nineteenth-century struggles for independence, as well as an emerging generation of native farmers and ranchers in the subsequent reservation days. In 1920 he went on a six-week trip to Mexico and drew portraits of the heirs of the Aztecs and of Mexican revolutionaries.

In 1921 he visited his native Germany on the only trip he made back to Europe. Here he drew many portraits of German and Swedish folk types and colorful characters. After his return to New York City in 1922, he was chosen by the editor of the social welfare journal Survey Graphic to portray the major figures of the Harlem Renaissance for a special issue entitled Harlem: Mecca of the New Negro [March 1, 1925]. Dr. Alain Locke, Howard University philosophy professor and literary critic, was so impressed with Reiss’s portraits that he chose him to illustrate The New Negro: An Interpretation [1925], the most important anthology of the Harlem Renaissance. In 1926, Survey Graphic asked Reiss to illustrate a special Pacific issue with portraits of Asian Americans.

Later, in 1927, he portrayed African Americans living on St. Helena Island for another Survey Graphic issue. In the 1920s and 1930s, his trips to Glacier National Park were financed by the Great Northern Railway, which selected many of his portraits to illustrate its travel calendars.

Reiss was also a highly successful graphic designer. His brightly colored covers and illustrations appeared in Scribner’s Magazine, Survey Graphic, Opportunity Magazine, and numerous other publications. In 1915 he co-founded the Society of Modern Art and its magazine, Modern Art Collector, which he used to introduce and spread modern design and color usage in the advertising world. He designed the interiors of numerous commercial establishments, including the Crillon Restaurant, Hotel Alamac, Hotel St. George, all of the Longchamps Restaurants in New York City and elsewhere, the Apollo Theater and the Tavern Club in Chicago, the Hotel President in Kansas City, and the Hess Brothers Restaurant in Allentown, Pennsylvania. For the World’s Fair in New York in 1939, he was selected to design the exterior façade of the Theatre and Concert Building. His most outstanding commission was for the Cincinnati Union Terminal, which opened in 1933. There he fused modern Art Deco design with portraits illustrating the history of Cincinnati in mosaics that have survived to the present day.

Never a loner, Reiss kept a popular and exciting studio in New York City, which during the 1920s and 1930s was frequented by artists such as Marion Greenwood, Isamu Noguchi, Aaron Douglas, Ludwig Bemelmans, and Carl Link, and intellectuals such as Alain Locke, Jessie Fauset, Paul Kellogg, and Paul Robeson. He opened his own art school in New York City, held a summer school in Woodstock, New York, as early as 1916, and during the 1930s conducted the Winold Reiss Summer School in Glacier Park, Montana. In 1933, he was appointed assistant professor of mural painting at New York University. Reiss died in New York City in 1953.

Reiss himself is just as important as his art, for he possessed a remarkably open, warm, and infectious personality, one that allowed him to win the trust and confidence of Blackfeet Indians, Mexican revolutionaries, and Harlem Black artists and intellectuals alike. His life and work challenge the categories by which we normally evaluate and characterize American and ethnic art in this country. Arriving in America in 1913, Reiss was inspired by its ethnic diversity and the art produced by the varied ethnic groups. In his own work he demonstrated that he could represent a variety of racial and ethnic groups as objectively and compassionately as if he were one of their own, breaking through the resistance of some minority communities to having a white man portray them.

Winold Reiss, Aline Davis and Bird Rattler, Winold Reiss Summer School, Glacier Park, Montana, 1935

In some respects, his devotion to drawing and painting non-white subjects minimized his work within the American art establishment. His idealism challenges the notion that as Americans we are anything less than “us,” a totality that includes rather than excludes.

Viewing and studying the work of Winold Reiss provide the student and expert with a series of challenges, for to understand this remarkable German artist, who came to America with a unique sense of what this country was, is to challenge our own preconceptions about what American art is and should be. As such, Winold Reiss was a hero who stuck to and disseminated a vision of art and its relationship to the American community that we in the twenty-first century are still struggling to realize. -Jeffrey C. Stewart, www.Winold-Reiss.org

Phillips, Bert

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Phillips was one of the earliest artists to settle in Taos. He shared with Ernest Blumenschein the fortunate accident, which introduced them to Taos when their wagon broke down near Questa in the course of a western sketching tour in 1898. The two men had been close friends for sometime. Both studied at L’Academie Julien in Paris when Joseph Sharp first suggested to them the possibility of painting in the Southwest. Before going to Paris to study with Benjamin Constant and Jean Paul Lauren’s, Phillips had studied at the Art Student League and the National Academy of Design, where he had maintained a shared studio in New York for five years. After his return from Paris, he shared a studio in New York with Blumenschein until the summer of 1898, when the two set off on a sketching trip into Colorado. In the fall they purchased a wagon in Denver and headed for Mexico. Once they saw Taos, their trip was at an end.

Establishing his home in Taos, Phillips developed a particularly strong interest in Indian subject matter and strove to preserve in his paintings the romantic aura in which his imagination clothed the Native Americans. He was very close to the Indians of the Taos area and made their concerns his own. He was instrumental in obtaining a government prohibition against prospecting on the Taos Indians sacred mountain. Phillips was one of the original six members of the Taos Society of Artists, organized in 1912 at the home of Dr. Martin. The other members of the group were Couse, who was its first president, Berninghaus, Blumenschein, Dunton and Sharp. Phillips deep respect and admiration for the Indian and his way of life led to a never-ending effort to capture the vital spirit of these people on canvas. He idealized his figures, which reflected his romantic vision of the great pure land of the Southwest.

Moylan, Lloyd

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From St. Paul, Minnesota, Lloyd Moylan was a painter who specialized in Southwest Indian subjects and was also a museum curator and muralist, whose work is in the Museum of New Mexico and the Penrose Public Library.

He studied at the Minneapolis Art Institute, the Art Students League in New York, and the Broadmore Art Academy in Colorado Springs.  From 1929 to 1931, he taught at the Broadmore Academy and later became Curator of the Museum of Navajo Ceremonial Art in Santa Fe.

From the time he attended the Broadmore Academy, he made numerous trips into Arizona and New Mexico where he sketched and painted the Hispanic and Indian population.

Sources:
Peter Hastings Falk, Editor, Who Was Who in American Art
Peggy and Harold Samuels, The Illustrated Encyclopedia of Artists of the American West