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.

Finding New Life In Santa Fe: Sheldon Parsons’ Story

A journey that began with tragedy and illness became a career-changing new chapter for Sheldon Orrin Parsons (1866-1943) when he moved from New York to Santa Fe with his daughter, Sara, in 1913. Spurred by his wife’s death and his own fight with tuberculosis, Parsons headed to the Southwest in search of a healthier climate and a fresh start.

Sheldon Parsons - “Taos Road”, oil on board, 28” x 24”

Born in Rochester and educated alongside other famed artists of his day at the National Academy of Design, like Will Low, Edgar Ward and William Merritt Chase, Parsons was already a successful painter in New York. He was known for his portraits of influential people like President McKinley and Susan B. Anthony as well as pastoral landscapes of the Westchester County countryside. This pilgrimage going West was a step into the unknown, but after settling in the small town, he soon became one of Santa Fe’s earliest resident artists.

Sheldon Parsons, “Landscape In NM”, oil/board, 9” x 12”

Like it does with so many people, the land connected with Parsons emotionally and creatively. When he laid eyes on the beauty of the region, his art was forever changed. In fact, once he fell in love with the landscape of New Mexico, he never painted figures again. 

Sheldon Parsons - “Chamisa Leading to House”, oil on canvas, 35” x 36”

Like many other artists of the time, he displayed his work at the Palace of the Governors and would later become the first director of the newly completed New Mexico Museum of Fine Art. His daughter, Sara, would marry artist Victor Higgins in 1919, which lasted only four years but left a lasting impression on Parsons’ own artistic style. Though he was never considered a modernist, he was drawn to more progressive painters. Parsons passed away in 1943, right around the time abstract expressionism was taking off in New York City.

Sheldon Parsons - “(Untitled) Well In Front of Adobes”, oil on board, 24” x 36”

The pieces shown here and a number of other original Sheldon Parsons paintings are available at Nedra Matteucci Galleries in Santa Fe, New Mexico. For questions about the art or the gallery, please contact inquiry@matteucci.com

Source: AskArt.com

Three New Paintings From American Master, David A. Leffel

BREAKING—Three pieces by David A. Leffel have landed in the gallery and we’re utterly in awe. With a reputation that precedes him, Leffel’s work is always an honor to have come through our door.

David A. Leffel is an accomplished artist and instructor with over sixty years as a working painter. Trained in the schools of the 17th-Century Dutch and Flemish masters, namely Vermeer and Rembrandt, Leffel gradually became synonymous with this era and style of painting. His chiaroscuro technique, developed whilst enrolled at the Art Students League in New York City, led to him being frequently called “a 20th-Century old master.”

These three latest paintings all have the quintessential qualities that define Leffel’s body of work. With soft light and dark shadows, defined focal points and textural detail, these are classic works by the artist.

David A. Leffel - “Mexican Ceramic with Red Lanterns”, oil on canvas, 17 x 20”

Set in front of a dark, rustic background, a ceramic gleams in a noticeable spotlight. Everyday objects like blueberries and clementines strewn about take on a new poignance in this fascinating piece.

David A. Leffel - “Girl In Black Turtleneck”, oil on board, 12 x 9 3/4”

This haunting portrait showcases Leffel’s long study of Rembrandt and his own portraiture. With one eye closer to the viewer and the other less in focus, this work offers amazing depth and provides an obvious focal point. It leaves you wondering just what she is thinking.

David A. Leffel - “The Journey”, oil on canvas, 36 1/2 x 28 1/2”

Large and commanding in its presentation, this still life is a prime example of Leffel’s mastery of light and shadow. With light filtering in through a skylight, seemingly random objects take on meaning and mystique the way they are composed from background to foreground.

Add a masterpiece to your collection from one of the finest painters still working today. All three and more Leffel originals are available at Nedra Matteucci Galleries in Santa Fe, NM.

For questions or purchasing information, please email inquiry@matteucci.com

Source: https://www.askart.com/artist/David_A_Leffel/20847/David_A_Leffel.aspx

New Works For the New Year

As we gear up for 2023, we’ve brought a number of new works into the gallery that would make anyone excited for the new year. These pieces by both living and historic artists include some stunning finds, adding fresh life and beauty to any collection.

Laura Robb - “Santo Nino”, oil on linen, 18 x 18”

Ever a master of the floral still life, Robb manages to find new ways to “wow”. Her signature style seen here features heavy use of the palette knife and a combination of light and color that add energy to the piece. If you look closely, you’ll notice the Santo Nino subtly peeking through amongst the vases and valances.

Randall Davey - “Rue de la Paix”, oil on board, 32 x 26”

Randall Davey (1887-1964) was a renowned American artist who settled in Santa Fe and taught at the University of New Mexico. This incredible Paris scene is a prime example of his diverse body of work throughout his career, which featured extensive portraiture and landscapes in many media.

JK Inson - “Old School”, #7/10, bronze

Inson is a prolific artist, working both as a painter and sculptor, though he’s known for his bronzes. His strong style is seen here in this fantastically handsome rendering of a fierce crow. If Edgar Allan Poe could shop the gallery today, we think this one would surely land in his study.

Cynthia Inson - “Looking Up”, oil on board, 8 x 10”

It’s easy to lose yourself in this ethereal work by Cynthia Inson. Wife of fellow artist, JK Inson, she brings a unique softness to her landscapes that pull you in whether it’s a huge work or an 8 x 10” scene.

Kenneth Adams - “Kop-No Tall Corn Reysita Bernal” (1926), charcoal, 16 x 19”

Kenneth Adams (1897-1966) was a Kansas-born artist who later made the pilgrimage followed by many painters of his day to Taos. There, he brought a modernist touch to his works featuring the natives and natural beauty of Northern New Mexico. This piece is an unusually large example of his charcoal work with impressive detail in the face and shawl.

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

Famed landscape painter, Fremont Ellis (1897-1985), was known for his lively nature scenes with impressive use of light. This scene is no exception, with gorgeous sunlight dappling through the aspen trees and across the pond.

Glenna Goodacre - “Window”, #22/25, bronze

If you’ve been interested in sculpture long, you’re probably familiar with Glenna Goodacre (1939-2020). Best known for designing the obverse of the Sacagawea dollar and the Vietnam Women’s War Memorial, Glenna was well-rounded in multiple media. This tender window scene is an example of her fondness for depicting children in her work.

Walt Gonske - “A Taos Winter Day”, oil on linen board, 9 x 12”

We’re always thrilled to get more of Gonske’s work in the gallery—and compact scenes from his travels in New Mexico like this never disappoint. His quick method of painting and impressionistic brush strokes lend exceptional life to just about any landscape.

Need one of these pieces in your collection? All works are currently available at Nedra Matteucci Galleries in Santa Fe, NM. Email inquiry@matteucci.com for additional details.

8 Stunning Winter Paintings For the Holidays

Chris Morel - “First Snow”, oil on canvas

Snow is deceptively difficult to capture. Yet Morel hits the mark by uniquely capturing the way the light reflects off the snow’s surface in this 9 x 12” piece.

Clark Hulings - “Woodbearers of Chimayo”, oil on canvas

This frigid New Mexico scene jumps off the canvas. Hulings’ use of dark shadows on the well-trodden snow gives it incredible depth and realism.

LaVerne Nelson Black - “Untitled (Native Rider With Dogs)”, oil on canvas

Using broad brush strokes and often a palette knife in his work, Black depicts winter in a style all his own. This piece uses a limited palette and matte finish to give the impression of wind-driven snow.

Walt Gonske - “Northern San Ysidro Winter”, oil on panel

Known for working quickly and in plein air, Gonske delivers a rustic feel to this New Mexico landscape. Though it takes up just 14” x 18”, it’s a masterful piece that commands attention.

Glenna Goodacre - “Image of Taos”, watercolor on paper

Known mostly for her bronzes, Goodacre excelled in many different media. This Taos watercolor featuring bundled-up Native subjects, a theme she often returned to, is a prime example of her mastery of multiple artforms.

Tom Lovell - “End of Denver Gold Rush”, oil on canvas

Tom Lovell was an illustrator and painter whose works often graced pulp fiction magazine covers throughout the 20th century. This 1996 piece, amazingly painted when he was 87 years old, shows his enduring skill in an expansive scene one almost feels they could walk into.

Carl Von Hassler, “Snow Scene”, oil on board

This chilly landscape features Von Hassler’s favorite subject: the beauty of nature—specifically in his beloved adopted home of New Mexico. Like most of his paintings, the sketch was likely done on location and later finished in his studio.

Leon Gaspard - “Untitled (Taos Adobes)”, oil on board

The king of winter scenes, Russian-born Leon Gaspard brings his signature technique to this work. Using thick paint, a muted palette and heavy brush strokes, Gaspard transports you to a cold, blustery day in Taos.

All paintings are currently available at Nedra Matteucci Gallery in Santa Fe, NM. For questions about the works or gallery, email inquiry@matteucci.com