Exhibitions

Max Weber: New Expressions in Late Work, Paintings from the 1930s, 40s and 50s
July 18 - September 6, 2008



NEW MEXICO ARTISTS & ESTATES

From our gallery’s beginnings in the early 1970's to the present, we have earned a reputation as one of the preeminent dealers of O'Keeffe’s art by collecting and placing well over 200 of her works in private and public collections, and by curating and assisting in numerous gallery and museum exhibitions of her work.

Artists associated with the salons of Walter and Louise Arensburg and Mabel Dodge are also represented by the gallery; in particular, those artists who followed Dodge out West to northern New Mexico. These artists, such as Andrew Dasburg, Marsden Hartley, John Marin and O'Keeffe in turn influenced individuals and entire regional schools of painting.

In addition to major American painters and sculptors, the gallery represents various regional modernists and “artistic pioneers” who smashed through the limiting, deeply-entrenched traditions of representational painting. These early artists, many of whom were early founders of the Santa Fe Art Colony, transformed the land, skies, and ancient cultures of this region into personal, often spiritualized visions in paint by applying their understanding of cubism, expressionism, and fauvism to the American landscape.

Fine examples of secondary-market pieces as well as some significant artists’ estates are represented by the gallery, such as the Estates of Max Weber and of Marguerite Zorach.

20th Century

The Department of Twentieth-Century Art encompasses a wide range of modernist paintings by acclaimed blue-chip and regional American artists. The earliest rebels of genteel art such as members of "The Eight", like Robert Henri, John Sloan, William Glackens, and Leon Kroll, join our ranks among the most avant-garde early experimenters in American art made famous by Alfred Stieglitz and his New York galleries - Georgia O'Keeffe, Arthur Dove, and Max Weber among others. The Steiglitz Circle and related artists waved their fists at what they saw as overly sentimentalized, nineteenth-century tastes.







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