Customer Reviews

Taos Artists and Their Patrons, 1898-1950

5 star:		(8)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Dean Porter and his gifted associates have skillfully authored not only the best book ever written about the "Taos School of Art", but the most interesting and educational. Why is their book different? They departed from the standard biographical information generally available everywhere and continually repeated by other authors in every new book and took the time to bring into focus the collectors and art buyers who made it possible for the artists to make a living at their chosen profession. The many stories, glimpes, and setches of both the artists and collectors make this book most interesting and readable. There are also many new paintings never before shown in other books about this group of artist. There is also a art exhibit that compliments the book. This is a must read and must see for those who love and collect the "Taos School of Art". Like a fine red wine, you wish in your heart you could drink on forever.

The occasional case of the mad artist -- gaunt, ragged and living solely in his own creative mind -- has dominated our view of how art is created. In fact, patronage was and is the medium in which most art is created. This beautifully printed book casts a clean scholarly light into this remarkable relationship of artist and patron. While doing so the authors also examine how the demands and desires of daily living and the strains and strengths of personal relationships -- spouses, lovers, friends -- play upon the same chords that the patron touches, for good or ill. All are amply documented by the authors and as with all biography the telling anecdote best reveals the character of the subject. The fact that for decades a fertile art community existed a thousand miles or more from patrons and markets raises the question of whether indeed something special for the art world was going on in Taos. Easily dismissed by many as regional artists in the past, the Taos artists are put in a context by the authors' examination of the skein of relationships stretching to Taos. I would think that the world of art scholarship on that basis alone needs to respond to this well-focused work by examining other colonies, schools and concentrations of artists in the history of our country, for the purpose of finding how those stories of patronage compare. On its face alone the art reproduced in this fascinating book makes the case for the importance of the Taos artists as American artists. But the patronage story raises this question: Why did big city people, living and creating the big story of its time -- industrial, urbanizing America -- choose to support the painters in the desert? It seems to be a paradox. Or is it? We await the next study in depth of artists and their patrons. "Taos Artists and Their Patrons" has set the height of the bar. I hope the authors of this book stay in the game for the next book.

While the literature on American art history has grown enormously during the last several decades, that devoted to patronage remains very scarce, usually directed toward single supporters such as Luman Reed and Mrs. Jack Gardner. Taos Artists and Their Patrons is probably the finest study to appear devoted to a single school of painting, that which arose in Taos in New Mexico at the end of the nineteenth century. The authors have thoroughly investigated all aspects of patronage--exhibitions, individual advocates, institutional support, and many other forms. At the same time, they have presented what must be the finest study of the work of the artists active in Taos, embellished by a wealth of marvellous images, beautifully reporduced. The book enjoys three major accomplishments: it is a definitive study of the nature of American art patronage; it is a thorough review of one of the most important regional schools of art in this country; and it's a fabulous read!

I am fine art trained, so my love of fine painting contemporary or otherwise is understandable. Unfortunately, I would rather do-it than read about it. Art history of the usual sort bores me to tears. "Taos Artists and Their Patrons..." grabbed me from the start. I'm even reading the foot-notes...an unheard occurance! This is a stunning, insightful work with plenty of juice...not the usual dried, dusty husks they tried to force on me in art school. If you are at all interested in enduring art, in truly fine painting, in the southwest, in those who risked established careers to seek new subjects and gave new meaning to hardship...and the joy of discovery, then this book is for you...and a bargain at the price. It reads like a grand adventure!

For full disclosure, I have an essay in this book, but did not have access to the entire manuscript before the book was published. Consequently, I come to the book fresh and am simply overwhelmed by the book's sheer beauty. Even if one never read a word of the text, the reproductions are exquisite and remind us that these artists were producing some of the most visually stunning paintings in American art in the first half of this century. However, the text--contributed by several scholars on Taos art--provides context for how these artists supported themselves and their families (or didn't) through various public and private patrons. This anthology is certainly the most comprehensive publication on the Taos Art Colony phenomenon in the last ten years and is essential to collectors, dealers, and scholars, especially scholars of non-Western American art who tend to forget that "the painting's the thing" and Taos artists hold their own with any of their contemporaries, east or west of the Mississippi. Go buy this book, you will not regret it!

In the interest of full disclosure, I should mention that I know one of the authors of this book, and that I'm both an admirer and a frequent visitor to the Snite museum, where two of the authors hold down their day jobs. That said, however, I believe that this book is a marvel. The 400 plus illustrations, capture much of the best of the work to come out of the Taos art community, and the story that is told of the evolution of a community of artists, with all of the trials, triumphs, envy, friendships, love stories, and personal tragedies that filled the lives of the artists of Taos, is captivating. These artists needed patrons desperately. They were off on the edge of the world, creating art out of the mainstream. Most of them had only tenuous connections to the art establishment in the East, and they could not have survived without the help and support of others. The quality of this book is outstanding, and in my opinion, at the price offered by Amazon, it's a steal. If you enjoy American Art or just love a good story, you'll be very happy that you found Taos Artists and Their Patrons. I know I was.

In the tradition of excellence demonstrated in his book "Victor Higgins, An American Master", Dean Porter, along with Teresa Ebie and Susan Campbell, has produced another visually and intellectually pleasing work.

Both artists and collectors will learn much by reading this book, for it proves that it is more than technical skill and artistic sensibility that contribute to an artist's financial and critical success.

Those who have instinctively turned to Europe and the Eastern American Artists when wanting to view fine works of art will be enlightened and surprised to learn that some of the finest works of art in this century have been produced not in Europe, but in the USA and in the Southwest in particular.

This is a beautiful and informative book for anyone interested in art, whether they be collectors or art historians or simply those who like to view magnificent works.

Excellent book showing a great deal of beautiful art from the Taos artists at the beginning of the century. The book does and excellent job of telling the history behind each painting. The book is also very inspirational to artists. I suggest this book to anyone interested in art, anyone who is an artist, or people interested in art history.