Exhibition catalog from the collection of the Museum of Fine Arts in Santa Fe.

At the center of the Santa Fe art scene for a half-century, Gustave Baumann (1881-1971) drew on the invigorating influences of other European and American artists, along with Native American potters and watercolor painters, to produce a wealth of woodblock prints depicting the southwestern landscape, its peoples, and their rituals. As his images grew more complex, he devised innovative printing techniques, creating luminous prints with warm, blended hues. Gustave Baumann's Southwest presents over fifty of the artist's woodblock prints and gouaches, with an essay by Joseph Traugott, curator of twentieth-century art at the Museum of Fine Arts, New Mexico. Traugott outlines Baumann's life story, dwelling on the decisive moments when the artist struck out on his own. After he turned away from his early commercial success as an advertising illustrator in Chicago, Baumann combined a modern palette and techniques both traditional and modern while depicting subjects that existed long before an industrial revolution transformed American life.

A study of the Native American Vendors Program, which provides Santa Fe-area American Indian vendors space under the Portal of the Palace of the Governors to sell jewelry, pottery, and other items they have made.

"Contains an in-depth introduction by Martin Krause and autobiographical text written by Gustave Baumann (edited by Krause) about the time Baumann spent in Brown County, Indiana. Includes color reproductions of Baumann's work and historical photographs"--

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Eanger Irving Couse (1866–1936) showed remarkable promise as a young art student. His lifelong interest in Native American cultures also started at an early age, inspired by encounters with Chippewa Indians living near his hometown, Saginaw, Michigan. After studying in Europe, Couse began spending summers in New Mexico, where in 1915 he helped found the famous Taos Society of Artists, serving as its first president and playing a major role in its success. This richly illustrated volume, featuring full-color reproductions of his artwork, is the first scholarly exploration of Couse’s noteworthy life and artistic achievements. Drawing on extensive research, Virginia Couse Leavitt gives an intimate account of Couse’s experiences, including his early struggles as an art student in the United States and abroad, his study of Native Americans, his winter home and studio in New York City, and his life in New Mexico after he relocated to Taos. In examining Couse’s role as one of the original six founders of the Taos Society of Artists, the author provides new information about the art colony’s early meetings, original members, and first exhibitions. As a scholar of art history, Leavitt has spent decades researching her subject, who also happens to be her grandfather. Her unique access to the Couse family archives has allowed her to mine correspondence, photographs, sketchbooks, and memorabilia, all of which add fresh insight into the American art scene in the early 1900s. Of particular interest is the correspondence of Couse’s wife, Virginia Walker, an art student in Paris when the couple first met. Her letters home to her family in Washington State offer a vivid picture of her husband’s student life in Paris, where Couse studied under the famous painter William Bouguereau at the Académie Julian. Whereas many artists of the early twentieth century pursued a radically modern style, Couse held true to his formal academic training throughout his career. He gained renown for his paintings of southwestern landscapes and his respectful portraits of Native peoples. Through his depictions of the domestic and spiritual lives of Pueblo Indians, Couse helped mitigate the prejudices toward Native Americans that persisted during this era.