Paintings Of The Southwest

A rare collection of art and literature perfectly suited for the artist, traveler, or anyone enchanted by the Southwest.

Lists names and activities by Indian artists and includes photographs of their work.

Of the hundreds of foreign students who attended the Munich Art Academy between 1910 and 1915, Walter Ufer (1876–1936) and E. Martin Hennings (1886–1956) returned to the United States to foster the development of a national art. They ultimately established their reputations in the American Southwest. The two German American artists shared much in common, and both would gain membership in the celebrated Taos Society of Artists. Featuring nearly 150 color plates and historical photographs, A Place in the Sun is a long-overdue tribute to the lives, achievements, and artistic legacy of these two important artists. In tracing the lifelong friendship and intersecting careers of Ufer and Hennings, the contributors to this volume explore the social and artistic implications of the artists’ German heritage and training. Following their training in Munich, both men hoped to build careers in the spirited art environment of Chicago. Both were sponsored by wealthy businessmen, many of German descent. The support of these patrons allowed Ufer and Hennings to travel to the American Southwest, where they—like so many other talented artists—fell under the spell of Taos and its picturesque scenery. They also encountered the region’s Native peoples and Hispanic culture that inspired many of their paintings. Despite their mutual interests, Ufer and Hennings were not identical by any means. Each artist had a distinct artistic style and, as the essays in this volume reveal, the two men could not have had more different personalities or career trajectories. Connoisseurs of southwestern art have long admired the masterworks of Ufer and Hennings. By offering a rich sampling of their paintings alongside informative essays by noted art historians, A Place in the Sun ensures that their significant contributions to American art will be long remembered. A Place in the Sun is published in cooperation with the Denver Art Museum.

For the Southwestern Indians, painting was a natural part of all the arts and ceremonies through which they expressed their perception of the universe and their sense of identification with nature. It was wholly lacking in individualism, included no portraits, singled out no artists. But the roving life of the Plains Indians produced a more personal art. Their painted hides were records of an individual's exploits intended, not to supplicate or appease unearthly powers, but to gain prestige within the tribe and proclaim invincibility to an enemy. Plains painting served man-to-man relationships, Southwestern painting those of man to nature, man to God. Such characteristics, and the ways they persist in contemporary Indian painting, are documented by the 157 examples Miss Dunn has chosen to illustrate her story. Thirty-three of these pictures, in full color, are here published for the first time.

The comprehensive book on Indian petroglyphs in the Southwest.

This book features the work of 100 important painters, sculptors, photographers, potters, weavers, and jewelers living and working in New Mexico and Arizona today. Their stories and works of art will amaze as well as illuminate. This book provides the most vibrant picture of contemporary Southwestern art that you can find anywhere.

Winner of the 2016 Southwest Book Award from the Border Regional Library Association Winner of the 2016 New Mexico-Arizona Book Award for Arts Book Gold Winner of the 2016 PubWest Book Design Award for Adult Trade Book, Illustrated Known as a painter's painter, Irby Brown has been ranked among the foremost landscape artists of the American West. He is especially well-known for his striking plein-air work and his keen eye for light and color. This survey of his life and career is a long-overdue introduction to Brown's exceptional talent and techniques Irby Brown showcases sixty of Brown's finest landscape paintings, each in full color and on a full page. Narratives by the artist and fellow artists and patrons bring each of these pictures to life. The introduction discusses the most characteristic features of Brown's art and is followed by a brief biography that outlines his earliest influences, his military and art school years, and the story of how he became a professional artist. More than forty additional images of Brown's portraits, landscapes, field studies, and watercolors appear throughout the book, enhancing Brunson's exploration of Brown's artistic vision, biography, and process.