Robert Ray (1925-2002), paintings from the estate & private collections 2017

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Legends of Taos Series, 2017

Robert Ray


Paintings from the Artist's Estate, and private collections

Robert Ray (1924-2002) By the time Robert Ray decided to leave his native Denver and move to Taos, in 1954, he had served in the navy in the South Pacific during and after World War II, earned art degrees at The University of Southern California and The Centro de Estudios Universitarios in Mexico City, and lived in Europe for a year. His decision to move came after being invited by Eulalia Emetaz to exhibit at La Galeria Escondida, which at the time was the place to exhibit as a modern artist, along side such artists as Richard Diebenkorn, Edward Corbett, Clay Spohn, Agnes Martin any many other early Taos Moderns. This was to be his first solo exhibition. That same year, fellow artist Earl Stroh introduced him to Helene Wurlitzer, who, to encourage Ray to remain in Taos, provided him with an artist studioresidence. He thus became one of the first beneficiaries of Mrs. Wurlitzer's generosity. When she commissioned several Taos artists to paint portraits of her for family members, she included Ray. Ray also showed his work in regional and national exhibitions, and was represented by Cecelia Torres at Horizon Fine Art and remained there late into his career. Ray would return to Denver, from time to time, for a few months of employment, but for the most part remained full time in Taos from the early 1950s until his passing in 2002. The most frequent subjects of his early Taos oil paintings were still life’s and semi-abstract landscapes, working in an around total abstraction with both two dimensional and three dimensional work. He was fascinated by the light of the Taos Valley, not just the light itself, but the way in which the quality of light defines the place. In his work, intense concentrations of light contrast abruptly with darkness and fragmented forms, was his signature style. He worked closely with the then Harwood Foundation and upon his death in 2002 left his home and collection to what now is The Harwood Museum of Art. Shortly before is death , in 2000 , The Harwood held a retrospective of his art, some works from that retrospective have also been included in this exhibition at 203 Fine Art.

Florentine Skyline, 16 x 20, oil on linen, 1955

Parched Pebble (#348), 26 x 6 x 6.75, manufactured metal on wood, 1971

Haiku the Wind II (#203), 22.25 x 22, watercolor on heavy paper, 1998

Dried Milk Weed Pod, 35 x 17, oil on linen, 1958

Genesis II, 16 x 20, oil on linen, 1963

August, 20.75 x 23.5, Liquitex on board, 1968 - SOLD

Barred Brilliance I, 10.5 x 14.25, watercolor & graphite, 1965

Genesis III, 14 x 44, oil on linen, 1962

untitled white, 24 x 36", oil on canvas, c. 1950's

No. 5 (#138), 22 x 22", watercolor on heavy paper, 1995

The Morning of April 7th, 43 x 43", oil on linen, 1978

Springs First Flutes & Drums, 9.75 x 29", mixed media tissue collage, c. 1960

Shape of Random Joy VIII (#309), 15.5 x 14 x 3, wood, c. 1970s

No. 3 (#136), 22.25 x 22, watercolor on heavy paper, 1995

Southwest Odyssey III, 14 x 22", ink on paper, c 1966

Struggle Toward Spring (#140), 22.25 x 22, watercolor on heavy paper, 1995

Southwest Odyssey VII, 14 x 22", ink on paper, c. 1966 - SOLD

Winter in Taos XVIII & Winter in Taos XVII, 9 x 9", oil on mounted linen, c. 1960's

Taos in Winter XVI & Reflections on Lake Powell XXVII, 9 x 9", oil on mounted linen, c. 1970s


FINE ART Early Moderns to Contemporary - 575-751-1262 -

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