SPECIAL SUPPLEMENT TO PLEINAIR MAGAZINE
THE ARTISTâ€™S GUIDE TO PLEIN AIR PAINTING IN NORTHERN NEW MEXICO
A view in Northern New Mexico. Courtesy Douglas Maahs
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2018 Santa Fe
PLEIN AIR FIESTA
BEST OF SHOW – RICHARD ABRAHAM
“The Way to Truches”
“Sweet Blessed Rain”
CARRIE SCHULTZ “McKenzie Street”
MADINA CROCE “In Her Heyday”
PAINT OUT DATES – April 28 - May 2, 2018 SHOW DATES – May 4 - 18, 2018 OPENING RECEPTION – May 4, 5-7:30 pm
THANKS TO OUR GENEROUS SPONSORS: Plein Air Magazine, Southwest Art Magazine, Frame Tek, Kremer Pigments, Michael Harding Oil Colours, Panel Pak, Abiquiu Inn, Ampersand Art Supply, Art Frames.com, Blick Art Materials, Fredrix Materials, Inc., Guerrilla Painter LLC, Jack Richeson & Co., Jeff Potter Memorial for Artistic Excellence, Jerry’s Artarama, Mike Mahon Art Workshops, Princeton Artist Brush Co., Royal Talens, Schmincke/Chartpak, Sourcetek For more infor mation visit: PAPNM.org or SorrelSky.com
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2018 Santa Fe
PLEIN AIR FIESTA
“Ribbons of Light” by Cecilia Robertson Oil | 9” x 12” 7 Arts Gallery, NM www.CeciliaRobertson.com
“Chimney Rock” by Terry Chacon Oil | 11” X 14” Catalina Art Gallery, CA www.terrydchacon.com
“Vendor” by Jane Chapin Oil on linen | 18” x 24” Sorrel Sky Gallery, NM www.janechapin.com AG4 April-May 2018 / www.pleinairmagazine.com
“A Bend in the Gold” by John Meister Oil on linen panel | 14” x 11” Purple Sage Gallery, NM www.johnmeisterart.com
“Santa Fe River Turbulence” by Karen Halbert Oil | 10” x 16” Marigold Gallery, NM www.karenhalbert.com
“Taos Glow” by Margi Lucena Pastel | 20” x 16” Selby Fleetwood, NM www.margilucena.com
“North Fork Teton Creek” by Maryann McGraw
“Day Greets Night” by Tobi Clement
Pastel | 11” x 14” Purple Sage Gallery, NM email@example.com
Pastel | 11” x 14” Guest Artist/7Arts Gallery, NM www.tobiclementartist.com
For more infor mation visit: PAPNM.org or SorrelSky.com
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A Rich Artistic Legacy
rtists have long been captivated by the charms of Northern New Mexico. Of course, the main draw has been, and continues to be, the landscape’s incomparable blend of light, color, and shape. But art had a foothold in the area long before the first Easterners ventured West. The Native inhabitants, who had lived in the surrounding pueblos for centuries, had their own artistic heritage, evident in their pottery, weaving, and architecture. Later, the Spanish colonists who settled the area in the 16th century brought European traditions of furniture making, wood carving, embroidery, and tinwork. By the time professional artists arrived in Santa Fe and Taos in the mid- to late 19th century, the area was teeming with exotic subject matter for painting and sculpture. In the beginning, most of the artists who traveled to Northern New Mexico already enjoyed a certain level of success, and were, at first, interested in no more than annual trips West or, at best, part-time residency — thus establishing a creative pipeline for sharing ideas back and forth from New Mexico to the East Coast. John Sloan, one of several who had exhibited at the famed Armory Show of 1913 in New York City, established a home off Canyon Road and spent every summer there for 20 years, while continuing to teach in New York in the winter. Randall Davey, another Armory Show exhibitor, settled higher up Canyon Road where it enters the wilderness, establishing a permanent residence that he left to the Audubon Society. For many of the early artists, including Gerald Cassidy and Sheldon Parsons, the inspiring landscape wasn’t the only draw. The fresh, clean air and dry desert climate provided a relief from respiratory illnesses contracted back east that threatened to end their careers. Plus, the simple (and comparatively cheap) lifestyle made it easy for artists to set up shop. Above all, however, they enjoyed the camaraderie of fellow artists. Among those who settled in Taos were Bert Geer Phillips and Ernest L. Blumenschein, who along with Joseph Henry Sharp, W. Herbert Dunton, E. Irving Couse, and Oscar E. Berninghaus, formed the charter membership of the Taos Society of Artists. And in Santa Fe, the colorful Los Cinco Pintores (The Five Painters) — Jozef Bakos, Fremont Ellis, Walter Mruk, Willard Nash, and Will Shuster — were among the first to make their mark. Artists continue to flock to Northern New Mexico to connect to the land, to the people, and to one another, making Santa Fe the perfect location for the 7th Annual Plein Fall in Pilar 10 x 10 Oil Air Convention & Expo. If you weren’t able to join us this year, I do hope you’ll have the opportunity to visit this magnificent part of the country someday — and if you do, don’t forget to bring your paints. The light. The REPRESENTED BY color. The shapes. Need I say more?
PEGGY TRIGG WILDER NIGHTINGALE GALLERY TAOS LA MESA GALLERY SANTA FE
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Kelly Kane Editor-in-Chief
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Louis Escobedo & 717 Gallery
Louis Escobedo “Paseo” 30 x 30
Louis Escobedo “Water of Life” 16 x 20
Louis Escobedo “Sweet Smell” 24 x 24
Now in Santa Fe If you’re in town for the Plein Air Convention you’re invited to call Yolanda at 410-241-7020 to schedule an appointment to visit and see new Escobedo paintings.
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Perfect Places to Paint En Plein Air
Palace of the Governors. Courtesy TOURISM Santa Fe
SANTA FE PLAZA
100 Old Santa Fe Trail, Santa Fe (Bordered by San Francisco Street and Washington, Palace, and Lincoln Avenues) The heart of downtown Santa Fe for nearly 400 years, the Plaza is a National Historic Landmark and remains the central part of the city. The area is convenient for walking, with quaint winding streets featuring boutiques, restaurants, bookstores, and art galleries tucked into every block. Aspects of the past remain in the look and feel of the traditional Spanish Plaza, where local Native artisans sell jewelry and other arts made by themselves and their families beneath the portals of the Palace of the Governors.
Best known as the home of Georgia O’Keeffe and the subject of many of her paintings, Ghost Ranch is now a 21,000-acre retreat and education center located close to the village of Abiquiú in Rio Arriba County. The 700-foot striped cliff faces boast colors that range from dramatic maroon to sparkly white and yellow. To the south, the Rio Chama Valley draws the eye toward the blue-gray silhouette of Cerro Pedernal, the lopsided mountain that appears in dozens of works by O’Keeffe. The artist once wrote that God told her if she painted the Pedernal enough, “I could have it.”
El Santuario de Chimayó 15 Santuario Drive, Chimayo (25 miles north of Santa Fe) www.elsantuariodechimayo.us Situated in the foothills of the Sangre de Cristo Mountains, the village of Chimayó is just 40 minutes from Santa Fe along the High Road to Taos Scenic Byway. The area is famous for its chili peppers and the weavings of the Ortega and Trujillo families, but the main attraction remains El Santuario de Chimayó, where the dirt floor is reputed to have healing powers. Known as the “Lourdes of America,” the sanctuary attracts close to 300,000 visitors a year and is considered a prime example of Spanish Colonial architecture.
EL RANCHO DE LAS GOLONDRINAS
334 Los Pinos Road, Santa Fe (15 miles southwest of downtown Santa Fe) golondrinas.org
A view of Pedernal, with Abiquiú Lake in the foreground. Courtesy Douglas Maahs
GHOST RANCH (ABIQUIÚ)
280 Private Drive 1708, Highway US 84, Abiquiú (65 miles northwest of Santa Fe) www.ghostranch.org
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A historic ranch and now a living history museum, El Rancho de las Golondrinas (The Ranch of the Swallows) is located on 200 acres in a rural farming valley just south of Santa Fe. Strategically located on the Camino Real, the Royal Road that extended from Mexico City to Santa Fe, the ranch provided goods for trade and a convenient rest stop for travelers. The museum strives to maintain examples of life during the period when Spain ruled the area.
Original buildings on the site date from the early 1700s.
Pecos Pueblo. Courtesy Tobi Clement
PECOS NATIONAL HISTORIC PARK
1 Peach Drive, Pecos (25 miles east of Santa Fe) www.nps.gov/peco
What is now the Village of Pecos and the surrounding area have been settled since at least the 8th century. At the Pecos National Historic Park, the remains of Indian pueblos stand amidst the piñon, juniper, and ponderosa pine woodlands of the Sangre de Cristo Mountains. Centuries before the arrival of the Spanish, Native nomads and traders built a multi-story pueblo, Pecos Pueblo, on what is now Glorieta Creek. In the 1400s, Pecos Pueblo was a regional power and center of trade for the people of the plains and area travelers. Located only a few miles from the park, Pecos Benedictine Monastery offers beautiful scenery and a quiet place to paint. “As a woman, I always look for places I can paint and feel safe if I am alone,” says local artist Tobi Clement. “One of my favorite spots is the monastery.”
Insider Tips From Local Artists 3. Pack lots of water. New Mexico is high
and dry. It’s important to not only carry water, but to drink it and not be so distracted by your painting that you forget. Also, the high-desert temperature can change dramatically throughout the day. I always dress in layers and carry both a jacket and a raincoat with me. — Lee MacLeod
Arroyo Calabasas Diane Arenberg Oil, 16 x 20 in.
1. Keep an eye on the weather. I usually bug out at the first sprinkle, because dirt roads can turn slippery very quickly. Choose areas of higher ground on days when rain might be an issue. Arroyos, or dry riverbeds, are beautiful to look at, but can turn into flash floods when least expected. In 2015, a 25-foot wall of water blasted down the arroyo at Ghost Ranch and laid waste to buildings and workshop areas. The source of the water was a rainstorm 50 miles away! 2. Aside from sunscreen, a large-brimmed hat, and water (which are very important), I carry a rock named Harold who sits nicely in a canvas bag attached with bungee cords to the fulcrum of my tripod easel so nothing blows away. — Diane Arenberg
La Tierra Arroyo Shadows Lee MacLeod Oil, 9 x 12 in.
Mother Superior Tobi Clement Pastel, 22 x 26 in.
When All Is Said and Done Margi Lucena Pastel, 14 x 11 in.
4. In New Mexico, the old is not cleared away for the new. Be respectful of Native Pueblo boundaries, and be sure to ask for permission before you paint on or photograph Native Pueblo land. 5. The whole area surrounding Taos is beautiful, but if I had to choose one place to paint, it would be the Arroyo Hondo area, just north of Taos. No matter what time of year it is, the light and the views are just wonderful. Full of tiny ranches, as well as old adobe homes and farms that perch along the arroyo walls facing the mountains to the east, Arroyo Hondo is really inspiring. — Margi Lucena
6. When I go out to paint, I always take my camera; a thin skull cap to wear under my sunhat for cool mornings; hand warmers; a cotton scarf to keep the wind and sun off my neck — it’s also great for wetting and wrapping around my neck when I need to cool down; small bungee cords to tie things down when it gets windy and to close off my pant bottoms to keep out ants; moisturizer — the dry desert air leaves skin parched; hand wipes; tissues; and bear spray. 7. I can never get enough of the expansive views and ever-changing skies in Northern New Mexico. We have the most incredible light here; it gilds all it touches. The landscape can change colors with early-morning and end-of-day light. There’s a small window of time right before the sun sets when it looks like cadmium yellow has been squirted over everything, glazing it a delicious gold. — Tobi Clement
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campgrounds and picnic facilities in spots along the river for folks who want to stay longer than a morning or afternoon. — Peggy Immel
people from more humid climates. That is, until they realize that they are sunburned, dehydrated, and light-headed after just a few hours of painting outside. Painters visiting this area should wear sunscreen, bring shade protection, and drink lots of water. Hydrating several days before your trip to this area can help stave off the effects of altitude sickness as well. — John Meister
Vista del Arroyo Damien M. Gonzales Oil, 8 x 12 in.
8. Look up. In New Mexico, the sky is what oceans are to people who live near coastlines. Everybody is looking up all the time. 9. I usually have a general idea about what I’d like to paint, but I avoid forming any strong preconceptions regarding subject matter, composition, color, and lighting. I also try to purge thoughts about what others have done before me and just look for interesting scenes. — Damien M. Gonzales
Hay Bales Peggy Immel Oil, 11 x 14 in.
10. For me, must-have supplies include sunscreen; cerulean paint (for capturing New Mexico’s unique light); a Silver Grand Prix brush, size 8; my lunch (with lots of water); and my folding canvas lounge chair. 11. The Orilla Verde Recreation area of the Rio Grande del Norte National Monument is one of my favorite spots to paint. The colors of this section of the Rio Grande River are vibrant and change with the seasons: green and lush in the summer, golden cottonwoods in autumn, and brilliant red willows in the winter. It offers ever-changing views of the Rio Grande to paint and is full of wildlife and birds, including bald eagles in the winter. The Rio Grande Visitor Center is located in Pilar at the southern end of the Orilla Verde, and there are AG10 April-May 2018 / www.pleinairmagazine.com
Rio Grande Richard Prather Oil, 9 x 12 in.
Autumn Lights John Meister Oil, 16 x 8 in.
12. I never leave home without my Airflo Tilley hat and a Green Chile breakfast burrito. 13. Although I love being out early in the morning to paint, the golden evening light in New Mexico is spectacular year-round. I especially enjoy painting the fall colors of the high desert, and have greatly enjoyed painting the chamisa, cottonwoods, and aspens this year. I also love to paint at the Aspen Vista pull-off, high up the road to the Santa Fe Ski Basin. There are a lot of accessible Aspen scenes and lots of enthusiastic tourists. I love to speak with people while I paint and share my enjoyment of painting en plein air. 14. Most of the northern part of the state is high desert (Santa Fe is almost 2,000 feet higher than Denver), and because of the crisp dry air, a 90-degree day can feel deceivingly tolerable to
15. New Mexico has a lot of rugged and remote lands, and in most cases there isn’t any cell phone service. So, for safety reasons, I carry a Satellite Emergency Notification Device (SEND). If I ever have a life-threatening situation, I can send an SOS via satellite that will bring an emergency response team to my location, or if I have something less critical happen, like my truck breaks down, I can link the device to my cell phone and send a text message to family or friends, letting them know my situation. These devices are very affordable, especially when you consider it could save a life. 16. There are so many great spots to paint in Northern New Mexico, but I’d say my favorite is the area just northwest of Abiquiú, along Forest Road 151, in what’s called the Rio Chama Canyon Wilderness Area. Why? This is Georgia O’Keeffe country. Here you’ll find the landscape that kept her busy for nearly four decades. I love the area for its towering bluffs and side canyons along the Rio Chama, but there is so much more beyond those features. It’s definitely a must-see for artists and tourist alike. — Richard Prather
For maps to some top painting sites (courtesy of Plein Air Painters of New Mexico), look for the digital version of “The Artist’s Guide to Plein Air Painting in Northern New Mexico” on OutdoorPainter.com.
Great Places to See Great Art CANYON ROAD
Historic District, Santa Fe (Paseo de Peralta to Palace Avenue) Initially part of a farming community, Canyon Road later became the site of an art colony, and today is one of the country’s top art markets. This historic street was named a Residential Arts and Crafts Zone by the city in 1962. Many of the old adobe structures have been converted to galleries, but some Santa Fe families who have lived there for generations remain. Nearly a mile long, the winding tree-lined road contains the highest concentration of galleries in the country — more than 100. Events take place year-round, including the October Paint & Sculpt Out, where featured artists can show off their plein air skills.
Just South of the Plaza, Santa Fe (Guadalupe Street between Agua Fria and Paseo de Peralta) A former warehouse precinct, the RailyardGuadalupe District is now home to restaurants, shops, cinemas, and a popular farmers’ market. It’s also a vibrant new scene for lofts, galleries, and museums like SITE Santa Fe, which showcases some of the world’s foremost contemporary artists. Railyard Park plays host to performance art shows, live music, interactive-art festivals, and film screenings.
GEORGIA O’KEEFFE MUSEUM
217 Johnson St., Santa Fe www.okeeffemuseum.org With more than 3,000 pieces dating from 1901 to 1984, the museum represents the largest permanent collection of O’Keeffe’s work in the world, and the first museum in the United States dedicated to a single female artist. Throughout the year, visitors can see a changing selection of these New Mexico Museum of Art. Courtesy TOURISM Santa Fe
works in exhibitions that are either devoted solely to the artist’s creations or combined with pieces by her American modernist contemporaries.
NEW MEXICO MUSEUM OF ART
107 West Palace Ave., Santa Fe nmartmuseum.org Founded in 1917, just five years after New Mexico became a state, the oldest art museum in New Mexico houses 20,000 works ranging from the largest collection of Gustave Baumann prints in the world to important pieces by artists like Ernest L. Blumenschein — a founding member of the Taos Society of Artists.
Camino Lejo, Santa Fe www.internationalfolkart.org www.indianartsandculture.org spanishcolonial.org wheelwright.org santafebotanicalgarden.org A short trip by car, Santa Fe Trails bus service, or the free Santa Fe Pick-Up Shuttle, Museum Hill provides a central destination for exploring some of the region’s greatest collections and Native works of art. It’s home to the Museum of International Folk Art, containing objects from more than 100 countries; the Museum of Indian Arts and Culture/ Laboratory of Anthropology, which exhibits artistic, cultural, and intellectual achievements of the Indigenous peoples of the American Southwest; the Museum of Spanish Colonial Art; and the Wheelwright Museum of the American Indian. And if you leave the museums inspired to make some art of your own, just pop over to the Santa Fe Botanical Garden, where you can sketch some of the many native plants on display.
TAOS ART MUSEUM AT FECHIN HOUSE
227 Paseo del Pueblo Norte #A, Taos www.taosartmuseum.org Nicolai Fechin was born in Kazan, Russia, in 1881. His father, also an artisan, fashioned iconostasis in the Russian Orthodox Church, thus Fechin was exposed to carving, woodworking, architecture, and painting from an early age. He spent his teenage years at the
Taos Landscape Nicolai Fechin Oil, 11 1/4 x 17 1/2 in. Private collection Courtesy Zaplin Lampert Gallery, Santa Fe
Kazan Academy of Art and nine more years of training at the Imperial Academy of Art. Faced with the amazing deprivations following the Russian Revolution, Fechin came to the United States in 1923, already an established artist. He and his family settled in New York City, but he soon developed tuberculosis. John Young Hunter, another artist who had discovered Taos, suggested the dry climate of the area would be of benefit. Fechin went for a visit to the “real America” in 1926 and quickly decided to move there. In 1927, he purchased a small, square adobe home that he spent the next six years refashioning into one of the most beautiful and original homes anywhere, “a Russian home made of New Mexico mud.” Everywhere you look, you see his aesthetic vision and exquisite craftsmanship, from the graceful, sculptural shapes of the fireplaces to the surfaces of the doors and cabinets, glazed to create undulating surfaces that play with the light; from the ornately carved furniture, where even the hardware has been creatively incorporated into the plans, to the beautifully designed and patinated light fixtures. Taos was one of Fechin’s most prolific painting periods, also. His favorite models were indigenous people, from the tribes of Siberia in Russia to the Pueblos of New Mexico and later to such exotic locales as Mexico and Bali. Fechin left Taos in 1933, following a divorce from his wife, but he always considered Taos to be his American home. Now housing the Taos Art Museum at Fechin House, the home is open to visitors Tuesday–Sunday, 10 to 5. — Cindy Atkins, Taos Art Museum at Fechin House www.pleinairmagazine.com / April-May 2018 AG11
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Inner Glow 6x8 in.
Native Color 12x16 in. Best of show - PAPNM Spring Paintout & Show 2017
Aspen Afternoon 11x14 in.
email@example.com dickwimberly.com 505.934.5432
WEZWICK Plein Air Painters of New Mexico Awards: National Juried Members Show 2015 Best of Signature Members and Artist Choice Award 2016 Honorable Mention and Artist Choice Award 2017 Best of Signature Members Award
Gallinas River, oil, 24x30 Seeking Quality Gallery Representation
To see more of Wezwickâ€™s Paintings go to www.atwez.fineartstudioonline.com
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“Cloudy Morning in New Mexico” 18” x 24” watercolor on canvas
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