Celebrating Women of the Art World

The Gallery is home to works by artists from diverse backgrounds, from early Taos painters and Native potters to figurative sculptors and artists of the Transcendental Movement. Just to name a few. Today we’re highlighting a few of the preeminent female master artists in the Gallery and their contributions to the art world.

Mardie Rees (b. 1980) - “The Bell Cricket” (2019) #2/25, bronze/cast glass, 14 ½ x 10 x 8 ¼”

Mardie Rees is a prominent figure in the world of sculpture. At just 43, she has one of her pieces permanently on display at the National Museum of the Marine Corps in Triangle, VA. Her works are quickly recognizable for their emotion and texture, and feature everything from moments in motherhood to military scenes. This fanciful piece shows two real-life sisters, Charlotte and Vivian, capturing crickets and is inspired by the short story, “The Grasshopper and the Bell Cricket” by Yasunari Kawabata.

Dorothy Brett (1883-1977) - “Forest Gathering (Untitled)”, oil on board, 14 x 11½”

Born in the UK, Dorothy Brett was schooled alongside many famed intellectuals and artists of the day. When renowned writer D.H. Lawrence invited her to move to Taos, Dorothy took him up on the offer and never looked back. Eventually she became a leading figure in Taos, known for her social life as much as her art, which largely featured ceremonies and traditions of the local Pueblo Indians. 

This 1966 piece depicts a protective circle of wagon trains illuminated from within, setting up camp for the night. In the background, one can see the mountains of Taos, an enduring symbol of her adopted home.

Henriette Wyeth (1907-1997) -“Mountain Flowers”, oil on canvas, 30 x 36”

An artist with a keen sense of her own style and eye for detail, Henriette Wyeth hailed from a famous American art family. Daughter of N.C. Wyeth, sister of Andrew Wyeth and eventually wife of New Mexican artist, Peter Hurd, Henriette was raised in the art world and would make her own mark on it with stunning portraits and florals. This piece features quintessential Henriette Wyeth elements, such as the soft background and wildflowers.

Anna Katharine Skeele (1896-1963) - “Woman In White Blouse”, oil on canvas, 28 x 22”

Known for expressive portraits focusing on peoples of the Southwest, Anna Katharine Skeele enjoyed a highly successful career. She was schooled at Olivet College, Pomona College, the California School of Fine Arts, the Académies Julian and Grand Chaumière in Paris, and finally the Royal Academy of Fine Arts in Florence. Anna was as talented as she was educated, teaching art in her later career, winning awards and exhibiting in shows until her death in 1963.

Gene Kloss (1903-1996) - “Far Across the Rio Grande” (1939) Ed. 75, etching, 10 x 14”

Born in Oakland but forever known for her time in New Mexico, Gene Kloss never stepped foot in this state until her honeymoon in 1920. That marked a monumental shift in Gene’s life and career, inspiring her and her husband, poet Phillip Kloss, to eventually settle in Taos. Gene is famous for her dramatic black-and-white prints depicting the landscape and Native cultures she observed. This etching shows an impressive vista overlooking the foothills near the Rio Grande in Gene’s characteristic style.

Laura Robb (b. 1955) - “Summer Bouquet”, oil on linen, 16 x 12”

An Oklahoma native, Laura Robb was first schooled at the Art Student’s Academy in Tulsa. She later studied in New York City under Michael Aviano. Over the course of her career, Laura has perfected her trademark style of vivid florals with effortless brush strokes. Laura is a true master painter, using both soft blending and sharp strokes of color (often with a palette knife) to pull one’s focus to select flowers.

Glenna Goodacre (1939-2020) - “Butterfly Dancer” (1979) #5/20, bronze, 17 ⅞ x 5 ½ x 7 ¼”

Texas-born sculptor, Glenna Goodacre, nearly became an illustrator for medical textbooks. She shied away from 3D work after a sculpting instructor’s harsh criticism and advice that she quit the medium. But after encouragement from Gallerist Forrest Fenn in Santa Fe, Glenna tried again – creating her first model of her daughter, Jill. Fenn forged the first edition in 1969 and the rest is history. Today, Glenna is known as one of America’s most prolific modern sculptors, with achievements such as the Vietnam Women’s Memorial in Washington, D.C., the Irish Memorial in Philadelphia, and the bas-relief of the Sacagawea dollar.

Helen Hardin (Tsa-Sah-Wee-Eh) (1943-1984) - “Flute Player”, acrylic on panel, 10 x 8”

Daughter of famed Santa Clara artist, Pablita Velarde, Helen Hardin (Tsa-Sah-Wee-Eh, meaning Little Standing Spruce) grew up inspired by her Native culture and, of course, her own mother. Instead of parroting their styles, however, she developed her own, using traditional symbols in tandem with geometric patterns and modern color palettes. In this incredible piece above, Helen’s artistic voice remains clear and distinct even all these decades later.

Pablita Velarde (1918-2006) - “Flute Player”, sand painting on board, 18 x 10”

"Painting was not considered women's work in my time. A woman was supposed to be just a woman, like a housewife and a mother and chief cook. Those were things I wasn't interested in." -Pablita Velarde, 1979 

A native of New Mexico, Pablita was one of the first women to attend the Santa Fe Studio School. She was trained in Dunn “flatstyle” painting, which Pablita described as “memory paintings”—works that preserved ways of life that were disappearing. She continued to work with these motifs throughout her career. Known for making her own paints, grinding rocks and minerals to achieve the desired colors, Pablita was not only a pioneer of the art world, but an inspiration for generations of artists.

Barbara Latham (1896-1989) - “Horses In Snow (Untitled)”, oil on board, 8 ½ x 15 ½”

After graduating from the Pratt Institute in 1919, Barbara Latham worked for a publishing company creating prints for Christmas cards. In 1925, she ventured to Taos, where famed artist, Victor Higgins, introduced her to future husband, artist Howard Cook. Both enjoyed artistic experimentation, working in a variety of mediums and styles throughout their careers. Known for depicting the peoples and traditions of the Southwest in both paintings and prints, Barbara was an influential force in American art. Today, her works are historically valued and sought after by museums across the country.

These pieces and many others are available at Nedra Matteucci Galleries in Santa Fe, New Mexico. For any questions, please email inquiry@matteucci.com or call (505) 982-4631.

Joyful Pieces Just In Time For Spring

The first signs of springtime are upon us in Santa Fe after a long winter. The gallery’s sculpture garden is waking up, turning green, and boosting our spirits along with it. 

As the world begins to bloom, there are many pieces in the gallery that remind us of the beauty and excitement spring inevitably brings.

Doug Hyde (b. 1946) -“Spring Arrival” #7/50, bronze, 10 ½ x 5 ½ x 7 ¾”

Known primarily for his works depicting his Native cultural traditions in stone and bronze, Doug Hyde is an artist of broad talents. This bronze rabbit is a highly unique work in the artist’s oeuvre, featuring a unique patina that gives it the appearance of polished stone.

Walt Gonske (b. 1942) -“Iris Spring”, 2004, oil, 36 x 34”

Walt Gonske’s landscapes are often found in remote locations via his mobile studio, dubbed the “paint-mobile”. However, the inspiration for this colorful piece was found in his very own garden, bursting with fresh blooms. It’s no wonder this painting commands such attention with its bold brushstrokes and colors.

JK Inson (b. 1946) - “White Pelican Day”, white marble, 8 ½ x 6 x 7”

Inson is an artist who is prolific in a variety of media from stone carving to oil painting. Carved in his home studio, this solid marble piece features a lily coming into full bloom amidst a bundle of buds. The overall effect of the white marble and the smooth transitions between its elements is purely stunning.

Martin Mooney (b. 1960) -“Daffodils”, 2015, oil/panel, 24 x 20”

Born in Belfast, Ireland, Martin Mooney is an accomplished oil painter who achieves a texture to his paintings that catches the eye immediately. His floral still lifes, often featuring inventive use of a palette knife, nearly jump off the wall with bright colors and mind-boggling smoothness that draws viewers in.

Dan Ostermilller (b. 1956) -“Study For a Friend Indeed”, 1985, #13/30, bronze, 12 x 17 x 9”

President of the National Sculpture Society since 2012 and master sculptor of animals, Dan Ostermiller is a force in the art community. While he works often in monument-size bronze, the gallery is fortunate to have many of his smaller studies, including this pair of nuzzling rabbits. This set of friends is a lovely example of Ostermiller’s work and certainly reminds us that Easter is nearly upon us.

Jill Soukup (b. 1969) - “Spring Scruff”, oil on board, 34 x 16”

Since childhood, Jill Soukup has had a passion for horses and has been drawing them about as long. This foundation in drawing them led to a lifelong pursuit of art, particularly with horses and ranch life as her subject matter. This unique piece shows us a newborn foal, still scruffy and lean, but filled with life and personality. A beautiful reminder of the many miracles this season brings.

Cynthia Inson (b. 1948) -“The Stories They Could Tell”, 2023, oil on board, 14 x 11”

Accomplished plein air and still life painter, Cynthia Inson, resides alongside her husband and fellow artist, JK Inson. This vibrant piece is an example of her enduring interest in floral subjects with strong colors and composition. The crystal goblet in particular yields fascinating reflections and light, easily drawing in the viewer.

These works and many others are currently available at Nedra Matteucci Galleries in Santa Fe, New Mexico. For any questions about the art, please email inquiry@matteucci.com or call us at (505) 982-4631.

How Santa Fe Became An Art Mecca

The city of Santa Fe is synonymous with art and culture. In fact, it was the first city in the United States dubbed a “Creative City” by UNESCO and is the third largest art market in the country. 

But this 400-year-old city wasn’t always famous for art. It’s a reputation that’s only been building for the last century. So why Santa Fe?

Gustave Baumann - “Cordova Plaza” ed. of 200, color wood block, 7 ¾ x 7 ¾” 

For hundreds of years, Native artists resided in the Pueblos around Santa Fe developing their own art forms, and after the Gadsden Purchase made the Southwest a US territory, classically-trained artists frequented the region on short visits. Yet in the early 1900s, “Anglo” artists like Carlos Vierra, Warren Rollins, Gerald Cassidy, Sheldon Parsons and others began settling in Santa Fe more permanently.

The light and landscape, better cost of living, colorful and unfamiliar cultures, and dry climate that eased common illnesses were among the top draws. Coincidentally, this was occurring at the same time local Natives and townspeople realized the opportunity for tourism and promoting their own art, architecture and traditions.

Warren Rollins - “Native Portrait” (Untitled)          Oil on canvas, 30 x 18”

Henry C. Balink - “Sioux Chief - 1930s Pine Ridge”, oil/linen, 30 x 25”

Much of the groundwork was laid early on by an ambitious archaeologist and member of the Santa Fe City Planning Board, Edgar Lee Hewett. Not only was he instrumental in defining and promoting the “New-Old Santa Fe Style” of architecture, he also spearheaded the founding of the New Mexico Museum of Fine Art in 1917. 

Eventually a number of big names moved to Santa Fe, including Gustave Baumann, Robert Henri, John Sloan, Randall Davey, Frank Applegate, B.J.O Nordfeldt, Henry Balink, Andrew Dasburg and others.

Gustave Baumann - “Rio Pecos” #AP/100, 1920, Color wood block, 9 ½ x 11 ¼”  

B.J.O. Nordfeldt - “Untitled” (Still Life), oil on canvas, 26 x 38”                                 

By the early 1920s, dedicated social clubs and associations began to form, which led to the founding of the preeminent artist group in Santa Fe– Los Cinco Pintores. These five artists, mostly young and self-taught, sought to develop their skills and forge a reputation together.

It started with Fremont Ellis, the young optometrist and painter from El Paso, and grew to include Will Shuster, Josef Bakos, Walter Mruk and Willard Nash. They quickly found a mentor to help grow their talents: accomplished artist, Albert Herman Schmidt.

Will Shuster - “Self Portrait”, oil on board, 16 x 12”

Young artists also found assistance from the new art museum, which helped with framing, building shipping crates and photographing their works for marketing. The annual exhibitions held at the museum, juried and open to all artists, led to invaluable exposure and patronage.

Fremont Ellis - “Aspens By A Mountain Pond”, oil on canvas, 24 x 30”

Soon the art world flourished in Santa Fe and Northern New Mexico. Gallerists, curators and patrons flocked to the state to fill their museums and private collections with this desirable new school of American art.

Will Shuster - “San Miguel Church”, etching, 4 x 3”

Willard Clark - “Woman With Child, House & Tree”, wood block print (first printing), 4 ⅞ x 4 ⅞”

The promotional strategy of groups like Los Cinco Pintores was a major success. Their personal reputations grew and many of them became legendary in the area, such as Will Shuster, the eccentric and beloved founder of Zozobra. 

Though the group only stayed intact from 1921-1926, their impact on the city would last. They and the artists from the early Santa Fe art colony influenced generations of painters, sculptors and potters. Thus turning Santa Fe into not only a muse, but a mainstay of the global art market.

Fremont Ellis - “Forest Gulch In Spring”, oil on canvas, 25 x 30”

All works in this article are currently available at Nedra Matteucci Galleries in Santa Fe. For questions or inquiries, please email inquiry@matteucci.com or call us at (505) 982-4631.

Sources: https://www.canyonroadarts.com/founding-the-santa-fe-art-colony/

Native American Pottery: Pieces of Cultural Tradition

We talk a lot about our paintings and bronzes, but Nedra Matteucci Galleries is also home to countless pieces of Native American pottery, each with its own age-old technique and cultural tradition behind it. It’s an honor to represent these Native Southwestern artists and continue to bring their craftsmanship to new generations.

Acoma Pueblo

The Acoma Pueblo is famous for its vibrantly decorated pottery, usually seen in orange and tan with geometric motifs that represent nature. The pots typically have thin walls, fine lines and eye-catching designs.

Originally, the pottery was produced for practical purposes, such as water jugs for long hunts, seed jars for storing seeds to plant in growing season, and a variety of other uses. 

Today, they’re valued not only as the stunning art pieces they are, but as vessels of cultural memory and preservation. The following examples are just a few of the incredible Acoma pots currently available in the gallery.

Barbara Cerno & Joseph Cerno, Sr. - Acoma Polychrome Pot, 10 x 12”

Carrie Chino - Acoma Polychrome Pot, 6 x 8 ¼” 

S. Martinez - Acoma Polychrome Pot, 8 x 8 ½” 

Hopi Pueblo

The people of the Hopi/Tewa Pueblo in Northeastern Arizona and Northwestern New Mexico have been accomplished potters for hundreds of years. Over that time, they developed a distinctive style, which includes the use of at least three colors (polychrome) on a polished surface, usually in a range of tan to apricot finishes. 

Traditional methods include gathering and cleaning local clay to be coiled into the desired shapes and firing outdoors. The designs found in their work are most often depictions of animals, lightning, rain and Hopi religious symbols. 

Here are just a few on display at the gallery:

Frog Woman (Joy Navasie) - Hopi Polychrome Pot, 5 ½ x 6 ½”  

Rodina Huma - Hopi Polychrome Pot, 5 ½ x 6 ½” 

San Ildefonso Pueblo 

Black-on-black pottery is one of the most well-known art forms to come out of New Mexico. It was inspired by an archaeological dig site at the modern day Bandelier National Monument, which uncovered sherds of black-on-black pottery from the twelfth to seventeenth centuries. This discovery led to the experimentation and development of today’s black-on-black ware by Maria Martinez and her husband, Julian, in the 1910s. 

They discovered that, during the firing process, putting powdered manure to smother the fire yet retaining the heat removed the oxygen from the process, leaving a stunning black vessel with designs in matte black.

Apart from blackware, the San Ildefonso Pueblo also produces pottery of other varieties, including redware and polychrome-style pieces. 

Santana Roybal Martinez & Adam Martinez - San Ildefonso Blackware Vase, 8 ½ x 6” 

Blue Corn (Crucita Gonzales Calabaza) - San Ildefonso Polychrome Pot, 4 x 8”

Santo Domingo Pueblo

The Kewa people of the Santo Domingo Pueblo have lived in the northern New Mexico region since the 1200s, but developed their version of pottery production in the mid-1880s. Prior to this, the Pueblo was more dedicated to jewelry-making, but was led into pottery work by a number of notable artisans such as the Aguilar family, Santana Melchor in the mid-1900s and a modern revival by Robert Tenorio beginning in the 1970s.  

Their pieces are almost uniformly polychrome with cream-colored slip covered by red and black slip. Human figures and symbols are reserved strictly for ceremonial pots, so most Kewa pottery instead features simple geometric designs harkening from nature. 

A quintessential example of their work is the following piece at the gallery by Robert Tenorio, hitting every trademark of traditional Kewa artistry.

Robert Tenorio - Santo Domingo Negative Polychrome Jar #504, 8 ¾ x 11 ½”  

Santa Clara Pueblo

Another Pueblo in the region was responsible for developing new techniques in the firing of their pottery, which inspired artisans from nearby Pueblos like Maria Martinez. That was the Santa Clarans, the descendants of the ancient Puyé mesa-top dwellers who were driven closer to the Rio Grande by severe drought in the mid-1500s. 

Their history of pottery production dates back over 300 years with their primary pieces being undecorated redware and blackware. That is until Sarafina Gutierrez Tafoya and her daughter, Margaret Tafoya, developed a unique form of pottery that came to be known as deep-carved blackware. Their famed bear claw design became synonymous with the Santa Clara Pueblo and remains one of their most recognizable symbols. 

Potters of the Pueblo also developed techniques unique to the pueblo, including a technique called sgraffito (designs and textures scratched into the surface of the pot). They also turned away from strict development of small wares to make some of the largest examples of Native pottery found in the region.

Denny Gutierrez (Santa Clara) - Carved Round Redware Pot, 5 x 5”

Pablita Chavarria - Santa Clara Carved Bowl #319, 7 x 9”

While this is far from a complete list of the Southwest’s Pueblos and their styles of pottery, we hope this brief introduction to a few of the cultures and their techniques helps art and history lovers identify and further appreciate these important and beautiful works.

For more information about any of these pieces, please contact inquiry@matteucci.com.