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SEDONA ART MUSEUM ONLINE Part Two: 1950 - 1969
Transcript of SEDONA ART MUSEUM ONLINE Part Two: 1950 - 1969
1950 - 1969 Please note that in preparing this site we have tried to respect copyrighted material, and comply with fair use guidelines. If you feel we have violated your copyright or other rights, please notify us and we will remove the offending materials. This site is a non- profit and non-commercial educational resource, and our primary intent is to provide a resourse for the advancement of the study of art and art history of Sedona and the Verde Valley in Arizona. 1950 - 1959 1960 - 1969 Inspired by the natural beauty of Sedona, Egyptian sculptor, Nassan Gobran and a group of local visionaries recognized the need for a place where artists could work, teach, and learn together. In 1958, they established Sedona's first art center, "Canyon Kiva." They purchased the old Jordan Apple Packing Barn, now known as the Art Barn, which quickly became the community's creative and social hub. The official founders of the Sedona Art Center
are said to be as follows:
(but likely many others were involved too)
Nassan Abiskhairoun Gobran (president)
Mrs. Hamilton Warren (vice president)
Cecil Lockhart-Smith (secretary-treasurer)
Dr. Harry Wood
Mrs. Barbara Mettler
Mrs. Helen Varner Frye
Miss Eugenia (Gee) Wright
Mr. and Mrs. E. V. Staude
Mr. and Mrs. Nicholas Duncan (Lois Kellogg)
Mrs. L. Zoya Parrish
W. W. Stevenson
George G. Babbitt (Madeline Babbitt)
On April 19, 1959, just 2 months after Jack Frye's tragic death, the Sedona Red Rock News joined Helen Frye for a very special occasion- to find the perfect location for a new Sedona art center. On that April day, a photographer followed Helen and her guests, Nassan Gobran, George Babbitt, Jr., his wife, Madeline Hunter Babbitt, and Nick Duncan (Crescent Moon Ranch) on various locations near Cathedral Rock. Nick was Frye Ranch foreman Walter Duncan's brother. The name of the art center would be 'Canyon Kiva' later to evolve into the present Sedona Arts Center
Per Helen's good friend, Marie Stilley: "Nassan Gobran and Cecil J. Lockhart-Smith stood right here in front of my fireplace (in Flagstaff) and told me that Helen had suggested they secure the former (Jordan apple) barn for an art center. It had been previously used for apples and peaches." Marie went on to say emphatically "if it had not been for Helen Frye, Nassan, and Cecil, there would have been no Sedona Arts Center!"
-from helenfryesedonalegend.com Nassan Gobran 1915 -1992
"To put Sedona on
the map through art" Gobran sculpting
bronze by Gobran Canyon Kiva
Sedona Arts Center 1961 "Canyon Kiva" Sedona's first art center founded in 1958
by Helen Frye, Nassan Gobran
and others 1950 - 1959 1960 - 1969 1950 - 1959 1950 - 1959 Stephen Juharos 1950 - 1959 Marguerite Brunswig Staude 1899 - 1988 Marguerite Brunswig Staude, an heiress and an artist, dreamed of building a chapel shaped like a cross. After she married Tony Staude in 1938, the couple lived in Sedona, where she found a perfect spot to build in Sedona's red rock country. Architects designed the chapel but Marguerite built a Madonna sculpture inside and designed Stations of the Cross. This beautiful, spiritual attraction is now administered by the Roman Catholic Church. Chapel of the Holy Cross
1956 Marguerite Brunswig Staude - Sedona Heritage Museum - Staude sculpture - Staude sculpture "Head of Christ"
-Staude 1913 - 2010 Stephen Juharos "Storm Clouds Over Sedona" oil by Juharos "Timeless"
oil by Juharos "Winter Wonderland at Cathedral Rock"
oil by Juharos "Merry-Go-Round
oil by Juharos Stephen Juharos
November 10, 1913 - December 13, 2010
Stephen was one of Sedona's oldest artists who was connected not only through his art, but had arrived in 1954. Stephen was born in Hungry in 1913 where he grew up and attended the Royal Hungarian University for Fine and Decorative Arts graduating in 1936 with honors. In 1949 Juharos entered the United States. He moved to Sedona, AZ in 1954 where
he established the Treaure Art Gallery
in 1961. Stephen has painted numerous portraits of Arizonan dignitaries including Senator Barry Goldwater in 1964 and Viola Babbitt in 1976. He also painted notable murals in Flagstaff.
Two 16’ murals, “A 1967 Look to the Future and Traditions in Pictorial Form,” were painted by Stephen Juharos for NAU’s Cline Library entryway. These
murals reflect various aspects of Northern Arizona University and Flagstaff.
Another mural was painted at the Nativity of the Blessed Virgin Mary Church, a mural by Juharos. This was painted on a 16 x 35 foot canvas and was installed by the artist himself in Nativity Chapel in February 1979. The mural's title is "Presentation of the Newborn Baby Mary to the Relatives." One of the figures holds a scroll reading "By Stephen Juharos with the inspiration and support of Viola Babbitt."
His art may be seen in Sedona at Treasure Art Gallery on highway 179 near the Chapel of the Holy Cross 1960 - 1969 Edith Dallas Ernst 1923 -2011 Edith Dallas Ernst married into one of the most influential art families of the 20th century, and she became inextricably linked to them and their accomplishments, but she was not one to rest lightly on others’ laurels.
The 88-year-old widow of Jimmy Ernst, who died of lung cancer on June 2, was actually a superior to her husband when they met as employees at Warner Brothers Studio in 1946, as he always enjoyed mentioning. She was working as a talent scout and he was in the art department. They married in 1947, and Mr. Ernst died in 1984.
Ms. Ernst was born in Riverdale, N.Y. in 1923 to Henry and Sadie Harris Bauman. She majored in theater at Columbia University, but left before graduating to study at the Yale Repertory Theater in New Haven, Conn.
After her marriage, she continued working as a film editor and then a producer for television shows, including “Blind Date,” “What’s My Line,” and “Westinghouse Studio One,” a showcase for a large range of dramas, whether original teleplays or adaptations of notable plays or novels.
Her family said she left the entertainment business in the mid-1950s to spend more time with her family — and in revolt against the blacklisting of suspected Communists and sympathizers that began and continued through that period, and included some of her friends.
Upon moving to Rowayton, Conn. she kept up with the demands of her household and her growing family while opening the Five Mile River Gallery, devoted to artists such as Yves Tanguy, Henri Matisse, Marcel Duchamp, and her father-in-law, Max Ernst. The exhibit space was likely the only suburban gallery showing important European Modernism during the Eisenhower era.
The family then moved to Sedona, Ariz., where she studied ceramics with Charles Loloma, who her family said was considered the first Hopi Modernist. Upon returning to the East Coast, she began showing her work at galleries in Florida, Connecticut, and New York. She developed a unique glazing technique that complemented the abstract forms she devised for her ceramic vessels. She continued her work and development into her 60s, traveling to New Mexico and living out of a Ford Minivan on the Acoma Reservation while she learned its masters’ techniques.
In 1969, Dallas and Jimmy Ernst settled in East Hampton as full-time residents, after years of spending part of the year here and being one of the earliest of the New York School of artists and poets to visit here in the 1940s.
- Dallas Ernst Jimmy Ernst “The son of Surrealist Max Ernst, Jimmy Ernst attended several European craft schools and served an apprenticeship in printing and typography before immigrating to the United States in 1938. He worked in advertising agencies and art galleries for several years, and not until age twenty did he decide to become a painter. Ernst’s early canvases were tinged with Surrealism, and his first solo show featured organic abstractions.
His interpretations of jazz themes during the 1940s, in which discrete color areas were used to approximate syncopation and rhythm, yielded in the 1950s to experiments with line that determined his future directions. In his mature work, Ernst used complex inter-locking webs of line to manipulate pictorial space and to create architectonic structures. Always abstract, his later paintings possess the spatial quality of panoramic cityscapes.” - Virginia M. Mecklenburg. Modern American Realism: The Sara Roby Foundation Collection (Washington, D.C.: Smithsonian Institution Press for the National Museum of American Art, 1987). 1920 - 1984 Top row, left to right: Willem de Kooning, Adolf Gottlieb, Ad Reinhardt, Hedda Sterne; middle row: Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clifford Still, Robert Motherwell, Bradley Walker Tomlin; seated: Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks, Mark Rothko. Life magazine, © 1951, photo by Nina Leen, Time, Inc.
He was there because Newman had phoned asking to put his name on a letter protesting the Metropolitan Museum's selection of a jury for its national exhibition of American art. The letter ran on the front page of the New York Times whereupon Life picked up the story and arranged for the artistsignees to meet in the studio of photographer Nina Leen where they were recorded for history as "The Irascibles." Max Ernst and son Jimmy Ernst "The Irasibles 1951" Jimmy and Dallas Ernst
lived in the Ernst home
in Sedona in the 1960s.
Paintings of this decade
show the influence
of the light and colors
of Sedona Jimmy, son Eric, daughter Amy, wife Dallas with CAPRICORN in Sedona 1961
www.reverserenaissancestudio.com/bio.html Charles Loloma 1960 - 1969 1960 - 1969 Charles Loloma (January 7, 1921 – June 9, 1991) was an American artist of Hopi ancestry. He was born in Hopi Third Mesa to Rex and Rachael Loloma. He served in the military in 1941 to 1945, where he was stationed in the Aleutian Islands. Thanks to the GI Bill, Loloma was able to go the Alfred University in New York. In 1954 he opened a pottery shop in Scottsdale, Arizona. He called his line of pottery Lolomaware.
Although he was an excellent potter and painter, he found his true passion in jewelry making. Some of Loloma’s designs were of outside influences. This brought harsh judgment on his art. Comments made about his art included, “It’s nice but it’s not Indian.” Loloma’s work was rejected from the Gallup Intertribal Art Show three times.
Most Native jewelers use traditional materials such as turquoise, silver and occasionally accented with some coral. Loloma used unconventional materials like sugilite, lapis, ivory, gold, pearls, diamonds and even wood. He used turquoise as an accent to his pieces. He got much of his inspirations from other cultures. Loloma created Hopi interpretations of Egyptian figures.
Loloma had many accomplishments across the globe. He won first prize in the Scottsdale National Indian Art Exhibition seven years in a row. He had two shows in Paris. He was featured in NET and PBS in 1972. In Japan he was the artist in residence in 1974. He was also commissioned to make a piece for the queen of Denmark. He visited many countries; France, Egypt and Colombia to name a few. His achievements inspired other Native jewelers such Jesse Monongye.
Although Loloma died in 1991, he remains an inspiration to Native artists. “We are a very serious people and have tried hard to elevate ourselves, but in order to create valid art you have to be true to your health and your heritage” 1921 -1991 Charles Loloma View video on Loloma
by Johnny Hozho 1960 - 1969 Jeffrey Lunge Jeffrey Lunge
A self-stylized impressionist whose watercolors create a portrayal of the American Southwest, Jeffrey Lunge's work was exhibited at the Arizona Bank Galleria, Palm Springs Desert Museum and at the Sedona Arts Center.
Although born in London, Lunge painted the Western scene for thirty five years. He worked from memory and from drawings made outdoors while on site. His watercolors recall Native American lifestyle before their use of electricity and pickup trucks. His paintings were usually bright against flying clouds and a windswept changing land. He completed an average of forty five paintings a year.
The Southwest Art of Jeffrey Lunge
By Sedona.biz Staff
Jeffrey Lunge: Visions of the Southwest
by Kelley Hays-Gilpin and Dennis Gilpin
Jeffrey Lungé was born in London. When he was eight, his father moved the family to Canada, and then California. His brother-in-law, anthropologist Edward B. Danson, introduced him to the Southwest in the 1940s. For Lungé, already an accomplished water colorist in Southern California, this was a life-changing experience.
Danson, as Director of the Museum of Northern Arizona later took Lungé on trips to the Hopi and Navajo Reservations, and his art evolved from these experiences.
Upon retirement in 1968, Lunge moved to Sedona and began painting the southwestern peoples and landscape full time. His work is now found in museums and private collections across the country.
Jeffrey Lungé: Visions of the Southwest, designed by Pamela Lungé and Loren Haury, brings together many of the best of Lungé’s paintings from this period for the first time. The works date from 1968 to 1985, when Lungé had to stop painting because of failing eyesight. The text providing background information about the paintings was written by anthropologists Dr. Kelley Hays-Gilpin, and Dennis Gilpin.
Dr. Robert Breunig, Director of the Museum of Northern Arizona, wrote the forward and Katherin Chase, former Curator of MNA wrote the introduction. Part of the proceeds from the book will help support the Edward B. Danson Chair in Anthropology at MNA. Dr. Hays-Gilpin is the current chair holder, and is doing notable research on Hopi iconography and cultural preservation. 1905 - 1993 Cowboy Artists of America
Founded in Sedona
- 1965 1960 - 1969 Joe Beeler 1960 - 1969 1960 - 1969 1960 - 1969 1960 - 1969 1931 - 2006 Charlie Dye John Hampton George Phippen 1906 - 1972 1918 - 1999 1916 - 1966 1960 - 1969 Harold Von Schmidt 1893 - 1982 1970 - 1979 1990 - 1999 1990 - 1999 1990 -1999 1990 - 1999 The images of art included in this virtual museum
represent only a small number of the many artists of the Verde Valley and were downloaded from various web sites. These are examples of Sedona's rich treasure of art history. This presentation does not represent any collection of the Sedona Art Museum, Inc.
Artists were placed in time periods based on when they came to Sedona and were active here, not necessarily when the artwork was created.
If your art or an artist you represent is included in this online museum and you wish to:
1. substitute an image
2. add to the information posted
3. donate art to be considered for the permanant collection or to be sold to raise funds for the Sedona Art Museum
4. make a contribution to the real Sedona Art Museum
please send an email to:
firstname.lastname@example.org Ring 1985
-Loloma Pendant ca. 1970
-Loloma Bracelet ca. 1970
-Loloma Buckle ca. 1975
-Loloma Bracelet ca 1975
- Loloma Bracelet and Earrings
-Dallas Ernst "Waterlily"
-Dallas Ernst Ceramic plate
-Dallas Ernst "Silence at Sharpeville" 1962
oil on canvas
-Jimmy Ernst (Smithsonian) -Jimmy Ernst 1965
-Jimmy Ernst "Chronicle"
-Jimmy Ernst 1979 Limited Edition Print
-Lunge "Pueblo Church"
-Lunge Jeffrey Lunge:
Visions of the Southwest
Kelly Hays Gilpin & Dennis Gilpin watercolor
-Lunge "Indians on Horseback"
-Lunge Cowboy Artists of Sedona L-R: Joe Beeler, Charlie Dye, John Hampton,
George Phippen, Robert T.MacLeod -1965 -Hampton "Bison Charge" bronze -Hampton "Apaches" - Hampton "Trail" -Hampton "Turning the Leader"
bronze -Hampton bronze -Hampton "Strangers" - Hampton Dye -Dye "El Dorado
-Dye "Arizona Territory"
-Dye "J. O. Branding"
-Dye "Sedona Jackpot"
-Dye "Shootout Sight"
Red Ryder Comic -Dye Book Harold Von Schmidt Harold Von Schmidt "Buffalo Bill Cody"
- Von Schmidt - Von Schmidt "Shooting It Out" 1942
- Von Schmidt - Von Schmidt "Death Comes for the Archbishop" 1929
illustration by Von Schmidt Joe Beeler
As a Western genre painter and sculptor who was cofounder of the Cowboy Artists of America, Joe Beeler became one of the nation's most prolific and best- known Western artists in the late twentieth century. He was born in Joplin, Missouri, on December 25, 1931, and grew up in northeastern Oklahoma, where all he ever wanted to do was be a cowboy and draw pictures.
After graduating from high school in 1949 he attended junior college for a time, worked on a cattle ranch in Arizona, and in 1950 entered the University of Tulsa. There he studied art for two years under Alexandre Hogue. In 1952 he enrolled at the University of Missouri, but his academic career was cut short when he was drafted into the U.S. Army during the Korean War. While serving, he drew cartoons for several service newspapers, including Stars and Stripes.
Upon being discharged from the army, he married Sharon McPherson and utilized the GI Bill to earn a bachelor of fine arts degree from Kansas State University in 1957. He followed this with a year of study at the Los Angeles Art Center.
In 1958 he returned to northeastern Oklahoma, where he lived in a cabin in a remote location on Five Mile Creek near Quapaw, in Ottawa County, and concentrated on painting. In late 1958 he received his first professional commission by doing book illustrations for the University of Oklahoma Press. The following year he had a one-man exhibition at the Gilcrease Institute of American Art (now Gilcrease Museum) in Tulsa.
Following this exhibition, demand for both his paintings and magazine illustrations increased to the point that in 1961 he moved to Sedona, Arizona, to be closer to the center of interest of the fledgling Western art world. Four years later he expanded his artistic range to include sculpture.
Then on June 23, 1965, he and three other Western artists gathered at the Oak Creek Tavern in Sedona and organized a group called the Cowboy Artists of America. Beeler later served in a variety of positions, including president. That organization is credited with being the single most influential factor in popularizing Western art during the second half of the twentieth century.
Since the 1960s Beeler's art works have won numerous gold and silver medals for excellence and many now reside in museums and prestigious private collections across the nation. Major exhibitions of his work have been held at the Gilcrease Museum, the National Cowboy and Western Heritage Museum, the Whitney Gallery of Western Art, the C. M. Russell Museum, the Montana Historical Society, and the Cowboy Artists of America Museum. In 1997 he received the Arizona History Making Award from the Arizona Historical Society and the Living Legends Award from Canada's Cowboy Festival in Calgary. CHARLES DYE
Charles Robert Culbertson Dye III was born October 30, 1906 in Cañon City, Colorado. His father was also named Charles Robert Culbertson Dye, and was born 1849 in Ohio. His mother was Irene Dye, born 1869 in Illinois. His parents had two children. His older sister was Florence Dye. They lived on a farm at 511 River Street. His father was in the real estate business.
The artist referred to Cañon City, which is pronounced "Canyon City," as a "cow town where I first rode for ranchers as a boy."
He had a natural drawing talent and enjoyed sketching while he worked as a cow hand. "I cannot recall a time when I was not on horseback, or not portraying the ranching life in pen and pencil."
By the age of twenty he had worked on cattle ranches in Colorado, California, and Oregon. In 1923 he was thrown from his horse and broke a leg. While recovering in a hospital he was given a book on the western artist Charles Russell. He was so inspired by the work he decided to become an artist.
He had difficulty winning approval from his father to pursue this new career. According to the artist,"My old man could have forgiven me if I had decided to be a piano player in a whore house, but an artist rated one step below a pimp in his book!"
In 1926 he moved to Chicago to study at the Art Institute. The artist, who was an impressive raconteur, later claimed to have been employed at this time as a semi-pro football player, as well as a bodyguard to Chicago "businessman" Al Capone.
In 1928 he married his wife, Mary Dye. They lived at 7639 Eastlake Terrace, Chicago. They had one son, Steve Dye, who grew up to become an accomplished pianist.
In September 1933 he began to study at the American Academy of Art. His wife also took interior design classes at the same school.
In 1935 he completed his studies at the American Academy of Art, where he studied illustration with Carl Arthur Schmidt.
In 1936 he moved to New York City and opened a freelance art studio at 166 East 56th Street. He continued his studies at the Art Students League, and he also studied with Harvey Dunn at the Grand Central School of Art.
He sold cover paintings for pulp magazines, such as Adventure, Walt Colburn's Western, and Argosy, all of which were published by Popular Publications.
During WWII he was exempt from military service, possibly because of earlier injuries to his leg. As the war progressed he began to receive assignments from higher-paying slick magazines, such as The American Weekly, Coronet, and The Saturday Evening Post. Publishers of these magazines suddenly needed illustrators to replace their regular artists, most of whom had been drafted.
In the 1950s he received regular assignments to paint covers and interior story illustrations for men's adventure magazines, such as Saga, Outdoor Life, and Argosy.
By 1960 changing tastes made it difficult for classic illustrators to find steady work, so Charles Dye returned to his roots and painted the Western art that had first inspired him to become an artist.
In 1962 he moved to Sedona, Arizona, and in 1965 he helped to found the Cowboy Artists of America, along with other retired pulp artists, such as Tom Lovell and Nick Eggenhofer.
According to the artist, "Today we can make a living painting. I don't mean little squirty things, but real work being sold through big galleries. People are buying this stuff because they maybe feel the era of the cowboy is just about on its last legs.
People are groping for something that is not so damned mechanical or artificial as life has become. There is no 'ism' tied to the tail of my painting. Maybe it doesn't stack up to much with the Metropolitan Museum in New York, but there is one helluva lot of people buying it in small towns.
It doesn't bother me not to be in a big museum. I don't paint for the honor of it. I do it because I like to paint and I like to eat! Those that buy my works are cow people and others that believe old Mother Nature knew her oats when she made the West and her finest animal, the horse."
His favorite horse was called "Model."
While suffering from terminal cancer, Charles Dye died of a self-inflicted gunshot wound at home in Sedona, AZ, at the age of sixty-six on January 22, 1973.
© David Saunders 2009
CAA Member from 1965-1999
Born: November 23, 1918
Well into his eighties, John Hampton, one of the founders of the Cowboy Artists of America, was still painting, drawing, and sculpting the many stories of the American West. Hampton was born in Brooklyn, New York in 1918, but made his way west at an early age. As a boy, he had shown an early aptitude for art and won a drawing contest sponsored by the New York World Telegram.
Years later, while he was working as a cowboy in New Mexico, one of his cow bosses told him that he had the makings of a good cowboy, but an even better artist. Hampton combined those two pursuits for the rest of his life. One of his early jobs was working as an illustrator for newspaper comic strips, including Fred Harman's Red Ryder and Little Beaver.
Hampton felt close to the Western life that he portrayed in his paintings and sculptures. In addition to working many years as a cowhand, he continued to keep his cowboy skills well-honed even after he turned to art full time. Hampton felt a deep affinity with the historic West.
He once said, “I was born a lot closer to the last center than the next one.” Hampton's artwork is now in many museums, including the National Cowboy and Western Heritage Museum in Oklahoma City, Oklahoma; the National Center for American Western Art in Kerrville, Texas; and the Montana Historical Society in Helena.
In 1965, Hampton got together with Joe Beeler, Charlie Dye, and George Phippen in Sedona, Arizona, to talk about the need to preserve and promote the art of the American West. As Hampton later recalled, “We didn't feel the necessity to wait around and let the Eastern critics tell us what was worth painting in the West.”
For thirty years, Hampton was an integral part of the development of the CAA. He remained one of the organization's spiritual leaders from its inception until his death in 2000. During those years, the organization grew to become the leading light in the genre; a light that Hampton helped ignite with the help of three like-minded friends.
National Center for American Western Art; National Cowboy and Western Heritage Museum; Phoenix Art Museum; Sangre de Cristo Arts Center
Copyright © 2013 Cowboy Artists of America. All rights reserved.
James E. Reynolds
born November 9, 1926, passed away peacefully at his home in Scottsdale on February 8, 2010.
A prominent Western painter for the last forty years, Jim Reynolds was known for his impressionistic paintings of the life of Old West and contemporary cowboys. His works are in museums and private collections throughout the United States.
Two books showcase his work: Traildust: Cowboys, Cattle and Country: The Art of James Reynolds and the recently released The Landscapes of James Reynolds. Born in Taft, California, his early childhood led him to a love and respect of the cowboy.
He spent summers at his grandmother's hotel in the old mining town of Washington, where he heard stories of the Old West and fell in love with the art of Frank Tenney Johnson. After serving in the Navy in World War II, Jim attended the Kahn Institute of Art and the School of Allied Arts in Los Angeles.
He went on to work as a commercial illustrator, first in the aircraft industry and then in the movie industry. From 1954 to 1967 Jim worked on 150 films, many of them Westerns. By 1967,
Jim was meeting with enough success in his painting that he left the movie industry and moved to Sedona, AZ. Joe Beeler and Charlie Dye, founding members of the Cowboy Artists of America, invited him to join their group and throughout the years exhibiting with them, he won numerous awards for his art.
He was also a proud member of the National Academy of Western Artists. In 1992 at an exhibit at the (then) Cowboy Hall of Fame in Oklahoma City, OK, he became the only artist to ever sweep the awards, winning the prestigious Prix de West purchase award, the Nona Jean Hulsey Buyer's award and the Gold Medal for Best Painting.
Known as an artist's artist, Jim was instrumental in helping establish the Scottsdale Artists' School, which is recognized as one of the countries foremost art schools. Claggett-Rey Gallery in Vail, Colorado represents Mr. Reynolds work. Prescott’s own George Phippen, western artist extraordinaire
Posted on January 28, 2012
by Edd Kellerman
Born in 1915, George Phippen was raised on farms in Iowa and Kansas and had no formal art education. As a youngster he modeled clay figures of animals, eventually working his way up to lifelike images of the ranch hands and cowboys who came through on the Chisholm Trail cattle drives.
While serving in World War II, he taught himself to paint and, soon after the war, he briefly worked with artist Henry Balink in Santa Fe, New Mexico. As he began to work in oil and watercolor, art became his life.
In 1949, George and his wife, Louise, settled in Prescott where he built his first official studio, rapidly establishing his reputation as a western artist. He researched the background, elements, people, settings, and historically-accurate gear to portray his subjects with as much authentic detail as possible.
In time, the family relocated to Skull Valley where he established the Bear Paw Foundry and, in the 1950s, George and friends Joe Noggle and Joe Vest revived the nearly forgotten process of lost wax casting of fine art sculpture – especially western art.
Although George had a brief career (only 20 years), he produced approximately three thousand works and is best remembered for his bronze sculptures including amazing pieces like “Cowboy in a Storm.” He was one of the original founders and first President of the Cowboy Artists of America. Harold von Schmidt (May 19, 1893 – June 3, 1982) was an American illustrator who specialized in magazine interior illustrations. Born in Alameda, California in 1893, he was orphaned at the age of five. After a year in an orphanage, he went to live with his grandfather, who had been a forty-niner.
As a youth von Schmidt worked as a cowhand and a construction worker. In 1920 and 1924 he was on the United States Olympic Rugby team. Although the United States team won the gold medal both years, von Schmidt did not play in the only game in 1920, and was sidelined by an injury in the final practice in 1924.
Von Schmidt began his art studies at the California School of Arts and Crafts while he was still in high school. In 1924 he moved to New York City and entered the Grand Central School of Art.
In 1927 he married and moved to Westport, Connecticut. Harold von Schmidt's work appeared primarily in Collier's Weekly, Cosmopolitan (magazine), Liberty (magazine), The Saturday Evening Post, and Sunset (magazine).
Although he preferred magazine work and illustrated few books, he spent two years preparing sixty illustrations for a deluxe edition of Willa Cather's Death Comes for the Archbishop.
In 1948 he was recruited by Albert Dorne to be one of the founding faculty for the Famous Artists School. He was awarded the first gold medal by the trustees of the National Cowboy Hall of Fame in 1968.
Harold died on June 3, 1982 in Westport, Connecticut. 1960 - 1969 James Reynolds 1893 - 1982 James Reynolds "Silver, Rest Stop" - Reynolds James Reynolds
1926 - 2010
BP: Taft, CA
LKL: Sedona, AZ
James Reynolds is known for his realistic landscape paintings of the American West. He was born in Taft, California in 1926, and has had an affinity for the West from an early age when he visited his grandmother each summer in a remote area of the Sierra foothills.
He spent years on ranches immersed in his subject matter and gathering experiences to last a lifetime.
After serving in the Navy during World War II, Reynolds went to art school on the GI Bill. He attended the Kahn Institute of Art in Los Angeles, CA and then the School of Allied Arts in Glendale, California.
Reynolds’ first job after art school was as a technical illustrator in California’s booming aircraft industry. He then found a job as a sketch artist for the film industry working for studios such as Columbia, Fox, and Disney. His movie credits include The Diary of Anne Frank, The Long, Hot Summer, and My Fair Lady.
In 1967, Reynolds moved to the wilderness of Arizona to pursue a career in painting. He met Joe Beeler and Charlie Dye, two founding members of the Cowboy Artists of America, and they invited him to join the group. Over the next decade his reputation grew as his work improved. In 1979 he decided to withdraw from the CAA, and worked alone in his studio.
During this period of solitude, Reynolds’ paintings continued to improve, and he began to receive honors and awards. In 1992 he became the first artist in the history of the National Academy of Western Artists to win the show’s three highest honors: The Prix de West Purchase Award, the gold medal in the oil category, and the Nona Jean Hulsey Buyer’s Choice Award.
The following year he was honored with a retrospective exhibition at the Gilcrease Museum and also rejoined the CAA.
Most recently Reynolds was the recipient of the 2000 Thomas Moran Memorial Award at the Autry Museum Show and the 2001 Masters of the American West Award at the Autry Museum Show.
“Broad realist” painter of contemporary cowboys at work, born in Taft, California in 1926 and lived in Sedona, Arizona since 1967. “Critics don’t bother me a bit,” he declares. “I’m just doing my own thing, with no phony nonsense. I just like to paint cowboys.
I’m a realist in every sense of the word, but in painting I lean toward impressionism. As far as my goals are concerned, I just want to be a good painter. And naturally, I want to leave something behind.”
Biography courtesy of www.askart.com James Muir James Muir Joe Beeler Joe Beeler Joe Beeler - Beeler - Beeler - Beeler George Phippen "Wimpy" bronze ed. 20
- Phippen - Phippen - Phippen "On the Pack Trail" oil
- Phippen "The Crack of Dawn on a Cow Ranch"
- Phippen "Mountain Ranch"
- Phippen Sedona Art Center Visit Sedona Art Museum Online
Part 1: Pre-History-1949
Part 2: 1950-1969
Part 3: 1970-1989
Part 4: 1990-1999
Part 5: 2000-2013
Part 6: 2010-2019
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http://www.sedonaartmuseum.blogspot.com "Dun" - Reynolds "Near Wilcox, AZ" - Reynolds - Reynolds "Swing Shift Cowboy" - Reynolds - Reynolds "Pack Horse" - Reynolds 1960 - 1969 Al Nestler 1960 - 1969 1899-1970 La Galeria, 1960s
Al Nestler moved to Sedona in 1960 and opened what
is thought to have been either the first or the second
fine art gallery in town. He and his wife, Ernestine,
were active in local arts scene. Al was a charter member
of the Sedona Art Center and taught classes in painting
there for years. His paintings hang in permanent collections in museums across the nation and in many private collections. 1960 - 1969 Margaret Leenhouts Margaret "Peg" Leenhouts Margaret Leenhouts sculpted by her Grandmother
Margaret "Peg" Leenhouts 1960 - 1969 Emilie Touraine &
Jimi Hendrix Walter Foster Art Book by Nestler Al and Ernestine Nestler - Nestler "Setting the Trap"
- Phippen Top row, left to right: Willem de Kooning, Adolf Gottlieb, Ad Reinhardt, Hedda Sterne; middle row: Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clifford Still, Robert Motherwell, Bradley Walker Tomlin; seated: Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks, Mark Rothko. Life magazine, © 1951, photo by Nina Leen, Time, Inc. 1942-1970 Emilie Touraine Jimi Hendrix "Oak Creek Owls"
- Touraine & Hendrix
collection Eddie O'Brien, Glenwood Springs, CO "Kachina"
-Touraine "As Long As the Wind Blows and the Prairies Grow, Love Will Have Power To Move the Earth"
-Touraine "The Master Weaver"
-Touraine "Plains Indian Pony"
Emilie Touraine, daughter of jeweler Pierre Jacque Touraine, was born September 1, 1939, in New York, New York, and raised, from 1943, in Pasadena, Altadena, and Alhambra, California. In 1960, she moved with her family to Scottsdale, Arizona, working there as an artist for twenty year
For varying periods during this time, she visited the Pacific Northwest, during 1972-1977; Nebraska, in the 1970s; and lived, for varying periods with the traditional Hopi of northern Arizona in the late 1970s.
Emilie lived in Sedona, Arizona for a time during the 1960's and during that time she painted owls and miniature burros. A lot of her paintings hung in a restaurant in Sedona called "The Owl". The restaurant burned down.
Emilie and rock music star Jimi Hendrix painted the Owls together in Sedona in the late 1960s.
She designed his costumes for stage performances. 1960 - 1969 Mary Margaret Sather 1960 - 1969 Mary Margaret Sather Mary Margaret Sather Mary Margaret Sather Mary Margaret Sather Mary Margaret Sather Mary Margaret Sather
The beauty of clay, fire and water combine together with the excellence of pure form to make Mary Margaret's Sedona Pottery.
Mary Margaret's love for clay began early in her life and continues through an ever-present desire to expand her creativity. Her pursuit of the art of pottery first took her to a small town in England where she, as an apprentice to Thomas Plowman, became a master potter in the English tradition. Her further studies took her to the great potteries of Spain, Israel, the Navajo and Hopi nations, and Mexico.
In Mexico she worked with world famous potter Ken Edwards. In the 60's she found Sedona, and has remained since to be constantly stimulated by this artistic community.
More recently Mary Margaret's work has gravitated to an exploration of Sacred Objects and Sacred Places. It is in this spirit that the present evolving collection is offered. "Leopard Appaloosa"
- Touraine Mary Margaret Sather Mary Margaret Sather Mary Margaret Sather