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Bodega Bay Heritage Gallery Monthly
September 2018
a fine art gallery based in Bodega Bay, California
celebrating Historic California painting


Browse our Archives
( thumbnail guide to previous articles and exhibitions )
Museum Exhibitions Studio and Showrooom Notes
Sonoma County Galleries

Now Available at Bodega Bay
Heritage Gallery's Showroom

Joshua Meador Carmel Coast Large Thumb
Joshua Meador, Carmel Coast
Oil on linen, 20 x 27

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Now available
at Linda Sorensen's Studio
Linda Sorensen The Green and the Gold
The Green and Gold
Sonoma County


Taos Society of Artists'
Paintings on view in
Taos and Sante Fe
Georgia O'Keeffe Portrait by Alfred Stiglitz
The Paintings of
Georgia O'Keeffe at Sante Fe's
Georgia O'Keeffe Museum
Atelier One Building Graton
Labor Day Weekend
OPEN HOUSE in Graton
at Linda Sorensen's Studio
& Bodega Bay
Heritage Gallery's Showroom

Taos Society of Artists'
Paintings on view in
Taos and Sante Fe
by Daniel Rohlfing

Dr. Mark Sublette offers a brief video introduction of the Taos Society of Artists. Twenty-five years ago, Mark founded the Medicine Man Gallery and has written of Native American art and history.

On a recent trip to Sante Fe and Taos, Linda Sorensen and I had an opportunity to visit four museums exhibiting paintings by members of the Taos Society of Artists

All of the paintings below were on exhibit at one of these northern New Mexico Museums; Taos Art Museum at Fechin House, the Harwood Museum in Taos, the Blumenshein House and Museum also in Taos and the New Mexico Museum of Art in Sante Fe. - Daniel Rohlfing

previously, from our May, 2017 Newsletter
an extraordinary exhibition in Scottsdale,

Taos Society of Artists
The Taos Society of Artist
Celebrate the Nobility
of the Taos & Pueblo People

at Scottsdale's Western Spirit Museum


Chant to the Warbonnet, c 1920 Joseph Henry Sharp, 1859-1953 Harwood Museum of Art, Tao
Chant to the Warbonnet
, c 1920, Joseph Henry Sharp, 1859-1953, Harwood Museum of Art, Taos

Joseph Henry Sharp, 1859 - 1953 Joseph Henry Sharp is considered the father of the Taos Art Colony. Although deaf since a childhood accident, he was known for his cheerful nature and he loved travel. Sharp was among the first Americans to visit Alaska, and he first arrived in Sante Fe in 1883.

The Taos Society of Arts was an idea planted in Paris at the Acedemie Julian where Sharp met two younger Americans who possessed a fascination with the American West.

Jerry Mirabal, Taos in Sioux War Shirt, ND Joseph Henry Sharp, 1859-1953 Blumenshein Home and Museum, Taos
Jerry Mirabal, Taos in Sioux War Shirt,
ND
Joseph Henry Sharp, 1859-1953
Blumenshein Home and Museum, Taos

Sharp shared his experiences of a visit to Taos with Ernest Blumenshein and Bert Geer Phillips.

One of Sharp's artistic interests was painting figures by firelight. He wrote, "I am interested in firelight things now, and have a little teepee interior rigged up in the studio, where I can pose a model by lamp light and work by daylight. Awfully hard, but lots of fun and interesting."

Joseph was quite aware of the Plains and Pueblo cultures, often writing about the issues which Indians faced such as governmental bureaucracy and the harsh realities of Indian reservation life, disease and alcoholism. He knew of the vast diversity among Indian cultures and the common issues they shared. Although not historically accurate, he would use his Taos Indian friend models to depict other Indian cultures, as he did in Jerry Mirabal, Taos in Sioux War Shirt, ND.

President Theodore Roosevelt took an interest in Sharp, because of Sharp's interest in Indians. Roosevelt commissioned Sharp to paint 200 native American survivors of the Battle of the Little Big Horn. Sharp was permitted to build a log cabin on government land near the confluence of the two rivers where the battle took place.

Sharp called the cabin Absarokee Hut. The one room cabin had a high enough ceiling for a balcony at one end. He decorated the hut with Indian artifacts. Phoebe Hearst, the mother of William Randolph Hearst bought 80 of Sharp's Indian portraits. Hearst gave Sharp a commission to paint 75 more portraits, documenting members of every Great Plains tribe. Hearst's extensive collection of 155 of Hearst's paintings were donated to the University of California at Berkeley.

An Old Garden in Taos, c 1920 Joseph Henry Sharp, 1859-1953 Harwood Museum of Art, Taos
An Old Garden in Taos
, c 1920
Joseph Henry Sharp, 1859-1953
Harwood Museum of Art, Taos
Taos Landscape, ND Joseph Henry Sharp, 1859-1953 Taos Art Museum at Fechin House
Taos Landscape
, ND
Joseph Henry Sharp, 1859-1953
Taos Art Museum at Fechin House
Fireside Chant, c 1920's Joseph Henry Sharp, 1859-1953 Blumenshein Home and Museum, Taos
Fireside Chant
, c 1920's
Joseph Henry Sharp, 1859-1953
Blumenshein Home and Museum, Taos

Bert Geer Phillips 1888-1956 Bert Geer Phillips first learned of Taos, New Mexico while a student at student at the Academie Julien in Paris. His classmates, Joseph Sharp and Ernest Blumenshein shared their enthusiasm for the American Indian. Sharp had even been to New Mexico in 1893 and planted seeds of curiosity in both Blumenshein and Phillips.

Phillip's paintings of the Indians are infused with his close relationships with them and exhibit his deep love of them and his respect for their culture and history.

After studies in Paris, he returned to America with his classmate, Ernest Blumenshein where they shared a studio in New York. In the Spring of 1898, they journeyed to the American West. In Denver they bought supplies, a wagon and a team of horses, and set out for New Mexico. In the wilds, they had a mishap, a wagon wheel broke.

Indian Man and White Horse, ND, Bert Geer Phillips, 1868-1956, Taos Art Museum at Fechin House
Indian Man and White Horse
, ND, Bert Geer Phillips, 1868-1956, Taos Art Museum at Fechin House

Blumenshein set out on horseback to the nearby town of Taos seeking assistance. With their wagon wheel fixed, the rolled into Taos, sold their wagon and supplies and set up a studio. When Phillips decided to return to New York, Blumenshein remained in Taos. Back in New York, Phillips corresponded with Blumenshein about establishing an art colony in Taos. Together with Blumenshein and Joseph Henry Sharp, they eventually did so. The Taos Society of Artists was founded in New Mexico in 1915.

Passing Snow_Squall; Taos Mountain, c1915 Bert G. Phillips, 1868-1956 Harwood Museum of Art, Taos
Passing Snow Squall; Taos Mountain
, c1915
Bert Geer Phillips, 1868-1956
Harwood Museum of Art, Taos
Taos Valley, NM, c1915 Bert G. Phillips, 1868-1956 Harwood Museum of Art, Taos
Taos Valley, NM
, c1915
Bert Geer Phillips, 1868-1956
Harwood Museum of Art, Taos
Three Musicians of the Baile, c 1920-21 Bert Geer Phillips, 1868-1956,  New Mexico Museum of Art, Sante Fe
Three Musicians of the Baile, c 1920-21

Bert Geer Phillips, 1868-1956,
New Mexico Museum of Art, Sante Fe
Untitled, Woman, Child, Dog and Burro, ND Ernest L. Blumenshein, 1874-1960 Blumenshein Home and Museum, Taos
Untitled, Woman, Child, Dog and Burro
, ND
Ernest L. Blumenshein, 1874-1960
Blumenshein Home and Museum, Taos
Church at Ranchos, 1921, repainted 1929 Ernest L. Blumenshein, 1874-1960 Blumenshein Home and Museum, Taos
Church at Ranchos
, 1921, repainted 1929
Ernest L. Blumenshein, 1874-1960
Blumenshein Home and Museum, Taos
Paris Street Scene, ND Ernest L. Blumenshein, 1874-1960 Taos Art Museum at Fechin House
Paris Street Scene
, ND
Ernest L. Blumenshein, 1874-1960
Taos Art Museum at Fechin House

Ernest Blumenshein 1874-1960 Ernest Blumenshein's father was the director of the Dayton, Ohio Philharmonic. As a youngster, Blumenshein was given a scholarship to study violin at the Cincinnati College of Music. While in Cincinnati, he took a course in illustration at the Cincinnati Art Academy, leading him to change his focus from music to art. He moved to New York and attended the Art Student's League and then moving on to the Acedemie Julian in 1894. There, he became friends with fellow American student, Bert Phillips and the older more experienced Joseph Henry Sharp. The three shared their curiosity of the American Indian. Sharp planted the seeds of curiosity in both Blumenshein and Phillips of an enchanted place he had visited, New Mexico, where American Indian culture was still alive and waiting to be captured in a truly American art.

Alas, Proud Mansion, 1947 Ernest L. Blumenshein, 1874-1960 Blumenshein Home and Museum, Taos
Alas, Proud Mansion
, 1947
Ernest L. Blumenshein, 1874-1960
Blumenshein Home and Museum, Taos

Railroad Yard, Meeting Called, c 1950-51 Ernest L. Blumenshein, 1874-1960 Blumenshein Home and Museum, Taos
Railroad Yard, Meeting Called
, c 1950-51
Ernest L. Blumenshein, 1874-1960
Blumenshein Home and Museum, Taos
Woman in Red Shawl, 1899 Ernest L. Blumenshein, 1874-1960 Taos Art Museum at Fechin House
Woman in Red Shawl
, 1899
Ernest L. Blumenshein, 1874-1960
Taos Art Museum at Fechin House
Taos Landscape, 1920 Ernest L. Blumenshein, 1874-1960 Taos Art Museum at Fechin House
Taos Landscape
, 1920
Ernest L. Blumenshein, 1874-1960
Taos Art Museum at Fechin House

Deserted Mining Camp, c 1940 Ernest L. Blumenshein, 1874-1960 Harwood Museum of Art, Taos
Deserted Mining Camp
, c 1940
Ernest L. Blumenshein, 1874-1960
Harwood Museum of Art, Taos

Oscar Berninghaus 1874-1952 Oscar Berninghaus first visited Taos on assignment for McClure's Magazine. He met Bert Phillips who invited him to return.

Berninghaus spent his summers in Taos, while keeping his job in St. Louis working for clients which included creating illustrations for Anheuser-Busch Brewing and the Denver and Rio Grand Railroad.

Watching the Ballgame, 1944 Oscar Berninghaus, 1874-1952 Taos Art Museum at Fechin House
Watching the Ballgame
, 1944
Oscar Berninghaus, 1874-1952
Taos Art Museum at Fechin House
Crossing the Arroyo, ND Oscar Berninghaus, 1874-1952 Taos Art Museum at Fechin House
Crossing the Arroyo
, ND
Oscar Berninghaus, 1874-1952
Taos Art Museum at Fechin House

His style used short quick brush strokes resulting in paintings of a unique texture. He painted American Indians unromanticized as they went about their daily lives. He said, "The painter must first see his picture as paint-as color-as form, and not as a landscape or a figure. He must see with his inner eye, then paint with feeling, not with seeing."

In 1915, Berninghaus became a founding member of the Taos Society of Artists. He was dedicated to the Society. He said, We have had French, Dutch, Italian and German art. Now we have American art. I feel that from Taos will come that art."

Santiago, the War Chief, 1930 Oscar Berninghaus, 1874-1952 Harwood Museum of Art, Taos
Santiago, the War Chief
, 1930, Oscar Berninghaus, 1874-1952, Harwood Museum of Art, Taos
An Uncertain Trail, 1915 Oscar Berninghaus, 1874-1952 Taos Art Museum at Fechin House
An Uncertain Trail
, 1915
Oscar Berninghaus, 1874-1952
Taos Art Museum at Fechin House

E. Irving Couse 1886-1936 E. (Eanger) Irving Couse was a remarkable American painter. He studied at the Academie Julian in Paris in 1887 where he was influenced the classical portrait techniques of William Adolphe Bouguereau. He was determined to use what he had learned in France and applying it to create a American Art.

The Cacique, c 1932 E. Irving Couse, 1866-1936 Harwood Museum of Art, Taos
The Cacique
, c 1932
E. Irving Couse, 1866-1936
Harwood Museum of Art, Taos
Indian Fireside, ND E. Irving Couse, 1866-1936 Taos Art Museum at Fechin House
Indian Fireside
, ND
E. Irving Couse, 1866-1936
Taos Art Museum at Fechin House

In 1912, he visited Taos. As Bouguereau had painted French peasants, Couse painted the American Indian. Although he did do some plein air painting, he preferred the French academic methods he had learned in Paris and worked mostly with models in his studio. His paintings were reflections of a poetic and peaceful civilization. His models were engaged in every day activities, and they were portrayed as handsome physical figures often accented by the long shadows of early or late sunlight, by moonlight or firelight.

William Herbert (Buck) Dunton 1878-1936 Buck Dunton is best known for his covers for Zane Gray novels. He studied in Boston at Cowles School and in New York at the Art Students League. There, his teach Ernest Blumenshein invited Dunton to Taos. In 1912, he opened his summer studio and moved in in 1921.

He became one of America's top ranked illustrators. He was known for lively western outdoor scenes, such as galloping horses with intense cowboys racing to avoid a cloudburst. His paintings were interesting visual stories.

Unlike his Taos Society peers, Dunton focused on scenes other than American Indians. He focused on the landscape and the portrayed animals, cowboys and the vanishing frontiersmen.

Dunton had a wider audience than most of the members of the Taos Society of Artists. His work was acquired by Douglas Fairbanks and Franklin Roosevelt. In 1922, he resigned from the Taos Society, not due to personal conflict with other members, but because he preferred to exhibit on his own. In 1923, he was commissioned to do a three paneled mural for the Missouri State Capitol.

In 1928, Dunton was injured by a horse, and began suffering from ulcers. His health deteriorated. He was diagnosed with prostate cancer in 1935. He died a year later and the young age of 57.
Ginger, c 1932 W. Herbert (Buck) Dunton, 1886-1956 Harwood Museum of Art, Taos
Ginger, c 1932
W. Herbert (Buck) Dunton, 1886-1956
Harwood Museum of Art, Taos

Walter Ufer 1876 - 1936 Walter Ufer received support from his family to pursue his love of art. After an apprenticeship with a lithographer in Louisville, KY, he studied in Dresden, Germany at the Royal Applied Arts School and the Royal Academy in Munich. After seven years in Europe where he met Joseph Henry Sharp and Ernest Blumenshein.

His association with Sharp and Blumenshein led Ufer to Chicago. There, with the financial backing of two art promoters, former Chicago Mayor Carter Harrison and Oscar Mayer, Chicago's sausage king, Ufer visited Taos in 1914. He was immediately taken with the indigenous Pueblo culture.

His artistic skills were immediately recognized by members of the Taos Society of Artists. He achieved commercial success in spite of his constant struggle with alcoholism. All was going pretty well until the stock market crash of 1929 caused the art market to crash as well. He increasingly distanced himself from painting in the years following the crash. As the value of his paintings fell, Walter drank more and more. He was 60 when he died of a ruptured appendix in 1936.

Winter in New Mexico, c 1930 Walter Ufer, 1876-1936 Harwood Museum of Art, Taos
Winter in New Mexico
, c 1930, Walter Ufer, 1876-1936, Harwood Museum of Art, Taos

Ufer became a friend of Indians and felt the pain they experienced due to racism. Altermann Galleries of Sante Fe and Scottsdale states, "Ufer saw the New Mexico Indian as an example of a people who had been vanquished by civilization. "The Indian has lost his race pride, Ufer commented at one point. 'He wants only to be American. Our civilization has terrific power. We don't feel it, but that man out there in the mountains feels it, and he cannot cope with such pressure.'"

(Jim) In a Pea Field, c 1935 Walter Ufer, 1876-1936 Taos Art Museum at Fechin House
(Jim) In a Pea Field
, c 1935
Walter Ufer, 1876-1936
Taos Art Museum at Fechin House
Kit Carson House, ND Walter Ufer, 1876-1936 Taos Art Museum at Fechin House
Kit Carson House
, ND
Walter Ufer, 1876-1936
Taos Art Museum at Fechin House

Ufer was known for his personal generosity. During the 1918 flu epidemic, he helped treat victims at a local Taos school house. He collected money for striking miners in Madrid, New Mexico.

His concern for the struggles of people suffering injustice he was reflected in his politics and social activism. He was a member of the International Workers of the World and was a follower, and according to some sources, a personal friend of Leon Trotsky.

Victor Higgins 1884-1949 - Victor Higgins was not one of the original six Taos Society members, but was included early on. Although the Taos Society painters focused on figure painting, Higgins focused on landscape. He also was more influenced by modernist abstract art than the original founding members. Ask Art's bio states his style as, "combining impressionism with cubism, reducing basic shapes to giving rhythm to his compositions, showing geometric relationships of form and design."

He was born in rural central Indiana. Defiantly rejecting his parent's wishes, 15 year old Victor, he left his Indiana home and attended the Art Institute in Chicago where he studied briefly with E. Martin Hennings and Walter Ufer.

Winter Funeral, c 1931 Victor Higgins, 1884-1949 Harwood Museum of Art, Taos
Winter Funeral
, c 1931, Victor Higgins, 1884-1949, Harwood Museum of Art, Taos

Indian Nude
, ND
Victor Higgins, 1884-1949
Taos Art Museum at Fechin House
Pablita Passes (Walking Rain), c 1916-17 Victor Higgins, 1884-1949 New Mexico Museum of Art, Sante Fe
Pablita Passes (Walking Rain)
, c 1916-17
Victor Higgins, 1884-1949
New Mexico Museum of Art, Sante Fe
The museum placard for In Pablita Passes (Walking Rain) says, "Here, the majesty of mountain and sky overpower the somber subject matter in the foreground. Despite the prevalence of the landscape, the painting does not escape personal narrative. Higgins started this painting after learning that Pablita, a young Hispanic girl who frequently modeled for him, had died of fever. The scene in the foreground depicts the community coming together to mourn the loss of the young girl in a northern New Mexico valerio, or wake.


Leaving Chicago, he ventured to Europe to the Academy of Fine Arts in Paris where he studied under Robert Henri, and later in Munich with Hans von Hayek.

After attending the Armory Show of 1913 in New York, he was influenced by the work of Marsden Hartley. He moved to Taos in 1915, joining the Taos Society of Artists in 1917. In 1923, he helped found the Harwood Foundation along with Bert Phillips and Louis Harwood.

Higgins proved to be an infusion of new artistic blood for the Taos Society. He became a link between his more conservative colleagues and the emerging artistic developments of the twentieth century.

E. Martin Hennings 1886-1956 E. Martin Hennings was a late addition to the Taos Society of Artists. He was voted in unanimously by the members a year after Oscar Berninghaus and Walter Ufer nominated him in 1923.

After taking classes at the Art Institute of Chicago, he worked commercially creating murals, mostly on canvas for Chicago's large hotels. He then re-enrolled in the Art Institute and in 1912, entered a painting in a competition at the Ecole des Beaux-Arts in Paris. He one second prize.

Discussing the Crops, c 1930, E. Martin Hennings, 1886-1956, Harwood Museum of Art, Taos
Discussing the Crops
, c 1930, E. Martin Hennings, 1886-1956, Harwood Museum of Art, Taos
Chamisa in Bloom, c 1920 E. Martin Hennings, 1886-1956 Harwood Museum of Art, Taos
Chamisa in Bloom
, c 1920
E. Martin Hennings, 1886-1956
Harwood Museum of Art, Taos

Bolstered with his success in Paris, he enrolled at the Academy of Fine Arts in Munich. There he met Victor Higgins and Walter Ufer. Back in Chicago, Henning's talent was recognized by art patrons including Carter Harrison. These are the same people who encouraged Walter Ufer and Victor Higgins to visit Taos three years earlier. After a few visits, Hennings moved to Taos. Although he painted landscapes, his primary focus was portrait painting.

San Francisco Peaks, c 1920 E. Martin Hennings, 1886-1956 Harwood Museum of Art, TaosSan Francisco Peaks, c 1920 E. Martin Hennings, 1886-1956 Harwood Museum of Art, Taos
San Francisco Peaks
, c 1920
E. Martin Hennings, 1886-1956
Harwood Museum of Art, Taos
Baumgarten Twins, c 1923 E. Martin Hennings, 1886-1956 Harwood Museum of Art, Taos
Baumgarten Twins
, c 1923
E. Martin Hennings, 1886-1956
Harwood Museum of Art, Taos
Thinning Aspens, ND E. Martin Hennings, 1886-1956 Taos Art Museum at Fechin House
Thinning Aspens
, ND
E. Martin Hennings, 1886-1956
Taos Art Museum at Fechin House
Marsden Hartley 1877-1943 Marsden Hartley visited New Mexico in 1918 at the age of 41. He was a gifted painter. As a 22 year old, had studied under William Merrit Chase at the New York. He loved the writing of Henry David Thoreau and Ralph Waldo Emerson. His work was recognized the Alfred Stieglitz who gave him an exhibition his Studio 291 in 1909. Stieglitz introduced Hartley to European painters including Cezanne, Picasso and Matisse. In 1912, Hartley traveled to Paris where he was introduced to Gertrude Stein circle of avante-garde artists. In Berlin, he painted with Wassily Kandinsky and Franz Marc.
Robert Henri, Portrait of Dieguito Roybal, San Ildefenso Pueblo, 1916
Portrait of Dieguito Roybal,
San Ildefenso Pueblo
, 1916
Robert Henri, 1865-1929
New Mexico Museum of Art, Sante Fe
El Santo, 1919 Marsden Hartley, 1877-1943 New Mexico Museum of Art, Sante Fe
El Santo
, 1919
Marsden Hartley, 1877-1943
New Mexico Museum of Art, Sante Fe

When he returned to America, he wanted to find America. In New Mexico, he said, "I am an American discovering America."

Music in the Plaza, 1920 John Sloan, 1871-1951 New Mexico Museum of Art, Sante Fe
Music in the Plaza
, 1920
John French Sloan, 1871-1951
New Mexico Museum of Art, Sante Fe

His paintings done in the southwest are a departure from his more abstract work. His New Mexico work blended native American, Hispanic and Euro-American influences, incorporating Hispanic Catholicism.

Robert Henri 1865-1929 and John French Sloan 1871-1951 Robert Henri and John French Sloan were painters of the Ashcan School in early 20th century New York. This group of painters sought out every day scenes of American urban life. These painters thought of themselves more as journalists than artists. They recorded what life was like for the new immigrants and less gentile citizens of New York. Art critic Robert Hughes said of the group and of Henri in particular, "Henri wanted art to be akin to journalism. He wanted paint to be as real as mud, as the clods of horse-shit and snow, that froze on Broadway in the winter, as real a human product as sweat, carrying the unsuppressed smell of human life." Henri spent three summers in Sante Fe in 1916, 1917 and 1922. In 1918, he was elected as an associate member of the Taos Society of Artists.

John French Sloan began spending four months each summer in Sante Fe in in 1918, an annual rhythm he maintained for thirty years. He had a strong interest in Native American arts and ceremonies. He organized a Native American artists exhibition in New York and advocated for their work. He championed the work of Mexican painter Diego Rivera whom he called, "the one artist on this continent who is in the class of the old masters."

 
The Taos Art Museum at Fechin House | The Harwood Museum in Taos | The Blumenshein Home and Museum In Taos
The New Mexico Museum of Art in Sante Fe | Back to the Top

The Paintings of
Georgia O'Keeffe at Sante Fe's
Georgia O'Keeffe Museum
George O'Keeffe Photo Portrait Thumbnail
Previously, March 2014 Newsletter
"Modern Nature: Georgia
O'Keeffe & Lake George"

now at SF's de Young
Georgia O'Keeffe in Hawaii 1939
Previously, January 2015 Newsletter
Nine Weeks in Hawaii,
Georgia O'Keeffe's 1939
visit to the Islands
Georgia first came to New Mexico in 1929 and immediately felt at home. At age 43, she was already a well established modernist. From 1929 onward, she spent part of nearly every year in New Mexico.

In 1947, Georgia's husband, photographer Alfred Stieglitz died. After two years spent settling her husband's estate, Georgia returned to Abiquiu, New Mexico in 1949, making it her full time home. Although she traveled widely, she considered New Mexico her home until her death in 1997 at age of 99.

Georgia, 1920-22 Alfed Stieglitz, 1864-1946
Georgia
, 1920-22
Alfed Stieglitz, 1864-1946

Brief video produced by Sante Fe's Georgia O'Keeffe Museum narrated by Gene Hackman.
All items pictured in this article are on exhibit at the Georgia O'Keeffe Museum in Sante Fe
except "In the Patio II" and "Grey Hill Forms," which are on exhibit next door at the New Mexico Museum of Art.
Purple Hills No II, 1934 Georgia O'Keeffe
Purple Hills No II
, 1934
Georgia O'Keeffe
In the Patio II, 1948 On exhibit at the New Mexico Museum of Art (neighbor to Georgia O'Keeffe Museum)
In the Patio II, 1948
On exhibit at the New Mexico Museum of Art
(neighbor to Georgia O'Keeffe Museum)
Georgia O'Keeffe Grey Hill Forms
Grey Hill Forms
, 1936
On exhibit at the New Mexico Museum of Art
(neighbor to Georgia O'Keeffe Museum)

Eleven years after her death, the Georgia O'Keeffe Museum opened in Sante Fe. The museum exhibits the largest permanent collection of O'Keeffe's work in the world, including examples of her large-format flower, skull and landscape paintings to paintings of architectural forms and rocks, shells and trees. The museum is also the steward of the historic Georgia O'Keeffe Home and Studio in Albiquiu, about 53 miles north of Sante Fe and also owns and maintains O'Keeffe's Ghost Ranch property, 20 minutes north of Abiquiu, which is not open to the public.

Ram's Head, Blue Morning Glory, 1938 Georgia O'Keeffe
Ram's Head, Blue Morning Glory
, 1938
Georgia O'Keeffe
Georgia Picking Angelica for the Salad, 1960 Tony Vaccaro, age 73
Georgia Picking Angelica for the Salad
, 1960
Tony Vaccaro, age 73
Bear Lake, New Mexico, 1930 Georgia O'Keeffe
Bear Lake, New Mexico
, 1930
Georgia O'Keeffe
Black Place, Grey and Pink, 1949 Georgia O'Keeffe
Black Place, Grey and Pink
, 1949
Georgia O'Keeffe
Georgia O'Keeffe's traveling paints and brushes
Georgia O'Keeffe's traveling paints and brushes
Georgia O'Keeffe at Lake George, 1908 Photographer unknown, Age 21
Georgia O'Keeffe at Lake George
, 1908
Photographer unknown, Age 21
Horn and Feathers, 1937 Georgia O'Keeffe
Horn and Feathers
, 1937
Georgia O'Keeffe
Above the Clouds, 1962 Georgia O'Keeffe
Above the Clouds, 1962
Georgia O'Keeffe
Georgia O'Keeffe Clouds painting at the Art Institute of Chicago
Georgia's largest Clouds painting
at the Art Institute of Chicago
8 x 24 feet
.

When Georgia was in her seventies, she flew around the world. a momentary view of clouds from an airplane window inspired her to create the largest painting of her career. Looking back on the experience, she remembered, "The Sky below was completely full of little oval white clouds, all more or less alike." The first cloud painting was small, the next two were larger. The final painting is 8 x 24 feet and is at the Art Institute of Chicago.

Black Place II, 1945 Georgia O'Keeffe
Black Place II
, 1945
Georgia O'Keeffe
Black Place III, 1944 Georgia O'Keeffe
Black Place III
, 1944
Georgia O'Keeffe
Untitled (Horse), 1914 Georgia O'Keeffe
Untitled (Horse)
, 1914 Georgia O'Keeffe
Back of Marie's No 4, 1931, Georgia O'Keeffe
Back of Marie's
No 4, 1931, Georgia O'Keeffe
Untitled, (Purple Petunia), 1925 Georgia O'Keeffe
Untitled, (Purple Petunia)
, 1925
Georgia O'Keeffe
Blue Line, 1919 Georgia O'Keeffe
Blue Line
, 1919
Georgia O'Keeffe
Clouds 5 / Yellow Horizon and Clouds, 1963-64 Georgia O'Keeffe
Clouds 5 / Yellow Horizon and Clouds
, 1963-64, Georgia O'Keeffe
Untitled, (Mt. Fuji), 1960, Georgia O'Keeffe
Untitled, (Mt. Fuji),
1960, Georgia O'Keeffe
Series I - From the Plains, 1919 Georgia O'Keeffe
Series I - From the Plains
, 1919
Georgia O'Keeffe
Storm Cloud, Lake George, 1923 Georgia O'Keeffe ...
Storm Cloud, Lake George
, 1923
Georgia O'Keeffe ...
Tan Clam Shell with Seaweed, 1926 Georgia O'Keeffe
Tan Clam Shell with Seaweed
, 1926
Georgia O'Keeffe

Between 1918 and 1934, Georgia O'Keeffe spent apart of each year at Alfred Stieglitz's family estate in Lake George, New York. Painted in 1923, Storm Cloud, Lake George has sometimes been assumed to be a nighttime imagining of her time spent there. This painting is currently on display in the middle of removing old layers of varnish. The left side of the canvas shows the painting as Georgia intended it to look. Four layers of varnish have been removed using formulated solvent gels that prevent damage to the original, fragile paints below. The right side of the painting will be conserved this winter.

Bella Donna, 1939 Georgia O'Keeffe
Bella Donna
, 1939
Georgia O'Keeffe
Petunia No. 2, 1924 Georgia O'Keeffe
Petunia No. 2
, 1924
Georgia O'Keeffe
Abstraction, White Rose, 1927 Georgia O'Keeffe
Abstraction, White Rose, 1927
Georgia O'Keeffe
Shell No. 2, 1928 Georgia O'Keeffe
Shell No. 2
, 1928
Georgia O'Keeffe
Tan, Orange, Yellow, Lavender, 1959-60 Georgia O'Keeffe
Tan, Orange, Yellow, Lavender
, 1959-60
Georgia O'Keeffe
Series I, White & Blue Flower Shapes, 1919 Georgia O'Keeffe
Series I, White & Blue Flower Shapes
, 1919
Georgia O'Keeffe

"I have things in my head that are not like what anyone has taught me -- shapes and ideas so near to me -- so natural to my way of being and thinking ... I decided to start anew, to strip away what I had been taught." Georgia O'Keeffe, 1974

In 1915-1916, while teaching art at Columbia College in Columbia, South Carolina, Georgia O'Keeffe made a radical decision. She put aside her training and tradition and created a series of bold designs, some of the world's first pure "abstractions." Infused with energy and emotion, these images did not imitate the visual appearance of the world, but instead used line, shape, color and contrast to convey meaning. Deeply appreciative of the beauty and spiritual power of the natural world, she often turned to the surrounding landscapes, flowers, and trees for her subject matter. Her abstractions were first exhibited in New York in 1916 at Alfred Stieglitz's avant-garde gallery "291." By the mid 1920's, O'Keeffe was recognized as one of America's most important and successful artists.

Trees of Autumn, 1921-21 Georgia O'Keeffe
Trees of Autumn
, 1921-21
Georgia O'Keeffe
Skunk Cabbage, 1922 Georgia O'Keeffe
Skunk Cabbage
, 1922
Georgia O'Keeffe
Church Bell, Ward, Colorado, 1917 Georgia O'Keeffe
Church Bell, Ward, Colorado
, 1917
Georgia O'Keeffe
Autumn Trees, The Maple, 1924 Georgia O'Keeffe
Autumn Trees, The Maple
, 1924
Georgia O'Keeffe
The Barns, Lake George, 1926 Georgia O'Keeffe
The Barns, Lake George
, 1926
Georgia O'Keeffe
Untitled (Red and Yellow Cliffs), 1940 Georgia O'Keeffe
Untitled (Red and Yellow Cliffs)
, 1940
Georgia O'Keeffe
Georgia O'Keeffe in Abiquiu,Garden in Front of Corn Todd Webb, no date given
Georgia O'Keeffe in Abiquiu,Garden in Front of Corn

Todd Webb, no date given

In the summer of 1929, Georgia O'Keeffe made the first of many trips to New Mexico. As she explored the unfamiliar environment, she experimented with fresh colors, forms and compositional strategies. Her exploration coincided with an expanding regionalist perspective among many American Modernists, who were seeking a larger view of the American scene beyond New York City.

Alligator Pears, 1920-21 Georgia O'Keeffe
Alligator Pears, 1920-21
Georgia O'Keeffe
Black Mesa Landscape, New Mexico / Out Back of Marie's II, 1930, Georgia O'Keeffe
Black Mesa Landscape, New Mexico / Out Back of Marie's II
, 1930, Georgia O'Keeffe
Georgia O'Keeffe Hitching a Ride  to Abiquiu with Marice Grosser, 1944 Maria Chabot, age 57
Georgia O'Keeffe Hitching a Ride
to Abiquiu with Marice Grosser
, 1944
Maria Chabot, age 57
Mule's Skull with Pink Poinsettia, 1936 Georgia O'Keeffe
Mule's Skull with Pink Poinsettia
, 1936
Georgia O'Keeffe
Gerald's Tree I, 1937 Georgia O'Keeffe
Gerald's Tree I, 1937
Georgia O'Keeffe

In the summer of 1944, Maria Chabot took this picture of O'Keeffe riding behind her friend Maurice Grosser (1903-1986) who was an artist and writer. He was part of the avant-garde circle of New York friends who also traveled to New Mexico to paint. During the summer of 1944-45, he was O'Keeffe's guest at the Ghost Ranch. His 1937 Harley Davidson motorcycle was commonly referred to as a "Knucklehead."

Untitled (Two Pairs), 1921 Georgia O'Keeffe
Untitled (Two Pairs)
, 1921
Georgia O'Keeffe
Machu Picchu I, 1957 Georgia O'Keeffe
Machu Picchu I, 1957
Georgia O'Keeffe
Georgia Caring for her Herb Seedlings, 1960 Tony Vaccaro, age 73
Georgia Caring for her Herb Seedlings, 1960
Tony Vaccaro, age 73
Black Hollyhock Blue Larkspur, 1930 Georgia O'Keeffe
Black Hollyhock Blue Larkspur
, 1930
Georgia O'Keeffe

During the 1930's and 40's she continued to spend part of most years living and working in the high desert landscape that inspired a new chapter in her professional life. Over time, her New Mexico paintings became as well known as the work she had completed earlier in New York. In 1949, nearly three years after the death of her husband, Alfred Stieglitz, she made New Mexico her permanent home. Her dramatic desert landscapes have become enduring icons of American Modernism; less well known is her persistent interest in the changing colors of cottonwood trees along the Chama River Valley visible from her studio in Abiquiu.

Bleeding Heart, 1932 Georgia O'Keeffe
Bleeding Heart
, 1932
Georgia O'Keeffe
The Black Place, 1944 Marie Chabot, age 57
The Black Place
, 1944
Marie Chabot, age 57
Thigh Bone on Black Stripe, 1930 Georgia O'Keeffe
Thigh Bone on Black Stripe
, 1930
Georgia O'Keeffe

Georgia first saw the landscape she called "The Black Place" in 1935, 150 miles west of her Ghost Ranch home. Between 1935 and 1949, she returned to this place many times, creating more than a dozen major paintings.

Georgia O'Keeffe Green Lines and Pink 1919
Green Lines and Pink
, 1919
Georgia O'Keeffe
Horse's Skull with White Rose, 1931 Georia O'Keeffe
Horse's Skull with White Rose
, 1931
Georgia O'Keeffe
Church Steeple, 1930 Georgia O'Keeffe
Church Steeple
, 1930
Georgia O'Keeffe
Flagpole, 1925 Georgia O'Keeffe
Flagpole
, 1925
Georgia O'Keeffe
Untitled, (City Night), 1970's Georgia O'Keeffe
Untitled, (City Night)
, 1970's
Georgia O'Keeffe

(After moving to New Mexico, O'Keeffe returned to the subject of earlier paintings created during the 1920's. Then, she often worked in series. Untitled (City Night) is unusual because it was painted nearly 50 years after the original work. This city scape recalls her 1926 painting, City Night which was about half the size and is now owned by the Minneapolis Institute of Arts.)


Canna Leaves, 1925 Georgia O'Keeffe
Canna Leaves
, 1925
Georgia O'Keeffe
Green and White, 1957-58 Georgia O'Keeffe
Green and White
, 1957-58, Georgia O'Keeffe
Corn, No 2, 1924 Georgia O'Keeffe
Corn, No 2,
1924, Georgia O'Keeffe
Calla Lily in Tall Glass, No 2, 1923 Georgia O'Keeffe
Calla Lily in Tall Glass
, No 2, 1923
Georgia O'Keeffe
Georgia O'Keeffe Museum, Sante Fe | Back to the Top

Joshua Meador 1911-1965 Atelier One exhibition
OPEN HOUSE Labor Day Weekend ... FRI, SAT & SUN
See our Exhibition Page
Ateleir One Door
In Graton ... (MAP)
Labor Day Weekend OPEN HOUSE
Fri, Sat & Sun, noon 'till 5:00 pm


The paintings of
Joshua Meador & Linda Sorensen

Linda Sorensen has a lovely group of paintings on exhibit as she prepares for this year's Art Trails.

Bodega Bay Heritage Gallery's Meador Exhibition features Disney and Meador Family Collections as well as a selection of our best Joshua Meador paintings.

Friday August 31 our building, Atelier One at 2860 Bowen Street in Graton, is open up to 5:00 p.m. Come on in -- we're in Studio 5 at the southern end of the ground floor, from noon to 5:00 p.m.

Saturday and Sunday, the Atelier One building is locked. An easel with instructions will be standing at the Southern door of the Atelier One building telling you how to get our attention and let you in.

For an appointment, email, text or call ... Art@BodegaBayHeritageGallery.com / 707-875-2911 | MAP
Atelier One, Studio 5, 2860 Bowen Street, Graton, CA
Not all our inventory is at Atelier One. If there is a particular painting or paintings you wish to see, please alert us before hand.


Joshua Meador on Bodega Bay Heritage Gallery .com | Linda Sorensen Paintings .com | Back to the Top


Notes ... Linda Sorensen's studio and Bodega Bay Heritage Gallery Showroom

Atelier One Southern Door on Bowen Street
For an appointment ...
Email: Linda Sorensen@Earthlink.net
or Art@BodegaBayHeritageGallery.com

Call or Text: 707-875-2911
We'll be pleased to meet you and show you any of Linda Sorensen's paintings
or the Bodega Bay Heritage Gallery's online collections
At the Landmark Gallery
in Bodega
Linda Sorensen Cypress Over Highway One
Linda Sorensen's
Cypress over Highway One
9 x 12

Linda Sorensen's paintings are also currently showing at

Bodega Landmark Gallery Collection,
located inland in the town of Bodega, west end of town a half block from the Casino, and just across from the (vacant) General Store and the Bodega Volunteer Fire Department.

Corrick's "Art Trails Gallery,"
located in downtown Santa Rosa on 4th Street, just steps from Santa Rosa's reopened Town Square.

At Corrick's
in Santa Rosa
"Art Trails Gallery"

Linda Sorensen Hawks Hill to Point Bonita
Linda Sorensen's
Hawk Hill to Point Bonita
24 x 30
Linda Sorensen at Easel at Monte Rio Redwood Cabin Studio
Linda Sorensen at her easel
Linda Sorensen's Studio is now open in Graton.

In Graton, visits are by appointment only,
except for events such as Atelier One Open Studios
and Art Trails
Note that the gate/doors are generally locked on weekends
We must make arrangements with you for entry.
707-875-2911
or email Linda at lindasorensen@earthlink.net

 

What's showing in Bodega Bay?
Bodega Bay Heritage Gallery Sign

Bodega Bay Heritage Gallery
featuring Joshua Meador and Linda Sorensen
and Historic Paintings of California
LABOR DAY WEEKEND OPEN HOUSE
at Linda Sorensen's Studio and Bodega Bay Hertage Gallery's Showroom
... Fri, Sat, & Sun, Aug 31, Sep 1 & 2, Noon-5:00

otherwise, by appointment in Graton or Bodega Bay
http://www.BodegaBayHeritageGallery.com | Call or Text 707-875-2911
email: Art@BodegaBayHeritageGallery.com

Joshua Meador Composed by the Sea
"Composed by Ocean"
Joshua Meador
Ren Brown
Ren Brown
The Ren Brown Collection
1781 Coast Highway One, Bodega Bay, 94923

Sarah Brayer Exhibition - through Sept 30
Opening Reception, Sat, Aug 25
2-4pm

707-875-2922 |  rbc4art@renbrown.com
http://www.renbrown.com |
Back to the Top
Reb Brown Sign Thumbnail
Pacific Bay Gallery

Pacific Bay Gallery
1785 Coast Highway One, Bodega Bay, 94923
Noki and Ron Jones, proprietors, featuring the etchings of Guillaume Azoulay
707-875-8925 |   Info@PacificBayGallery.com
PacificBayGallery.com | Back to the Top

Pacific Bay Gallery Azoulay
Bodega Bay's Jean Warren Watercolors
Bodega Bay resident Jean Warren says her paintings are reflections of the places she has lived and traveled.
Jean is a signature member of the National Watercolor Society,
California Watercolor Association and full member of Society of Layerists in Multi-Media.
Visit Jean's site and view examples at the Healdsburg Center for the Arts

http://www.JeanWarren.com

Jean Warren Watercolor

What's showing nearby?
in Sonoma, Napa & Marin Counties
Lorenzo de Santis
Landmark Gallery's
Lorenzo de Santis
IN BODEGA Bodega Landmark Gallery Collection
including paintings by Linda Sorensen
17255 Bodega Highway Bodega, California USA 94922 Phone 707 876 3477
Fri-Mon, 10:30 - 5:30
http://www.artbodega.com | Lorenzo@ArtBodega.com | Back to the Top
Bodega Landmark Gallery Thumb
Sebastopol Center for the Arts

IN SEBASTOPOL, Sebastopol Center for the Arts
home of Sonoma County's Art @ the Source and Art Trails

Art @ The Source Exhibition ... through June 10
282 S. High Street, Sebastopol, CA 95472  707.829.4797
Hours: Tue - Fri 10am - 4pm, Sat & Sun 1 - 4pm

Corricks Kevin Brown
Corrick's Keven Brown

IN SANTA ROSA Corrick's Art Trails Gallery | http://www.corricks.com/arttrailsgallery
637 Fourth Street, Santa Rosa, CA 95401 | Contact:: http://www.corricks.com/contact-us

Corrick's has been a Santa Rosa Treasure since 1915,
a downtown stationery store serving the community's "cultural hub."
Corrick's has long supported local artists with its impressive "ART TRAILS GALLERY,"
including paintings by Linda Sorensen.
And currently has a number of originals by Maurice Lapp ... (see our August 2017 article)

located on Fourth Street, steps away from Santa Rosa's revitalized town square
and Fourth Street's Russian River Brewery

Corricks
BBHPhoto Dennis Calabi
Dennis Calabi
IN SANTA ROSA Calabi Gallery | http://www.calabigallery.com
-- Migrations, Art of Iva Hladis ... through Jul 28 Aug 4

--The art of Alejandro Salazar
with an opening reception on Saturday, August 11th from 4-7pm
-AFTER THE FIRE EXHIBITION is now extended though December 2
Photographyu of Penny Wolin ... 10% of sales go to the UndocuFund
benefiting undocumented families impacted by the fires
-WINTER SOLSTICE PARTY, Thur, Dec 21, 5-8 pm

We are located at 456 Tenth Street in Santa Rosa.
Contact us with any questions at (707) 781-7070 or info@calabigallery.com

456 Tenth Street, Santa Rosa, CA 95401 | email: info@calabigallery.com | 707-781-7070

Famed master conservator Dennis Calabi brings his rare knowledge and experience
to present a tasteful and eclectic array of primarily 20th century artwork.

http://www.calabigallery.com | Back to the Top
Easton Crustacean Dancing Dream 144
Easton, Crustacean Dancing Dream, American Alabaster
Annex Galleries Santa Rosa IN Santa Rosa The Annex Galleries
specializing in 19th, 20th, and 21st century American and European fine prints
The Annex Galleries is a member of the International Fine Print Dealers Association (IFPDA).
http://www.AnnexGalleries.com | Back to the Top
Linda Ratzlaff

IN GRATON Graton Gallery
http://www.gratongallery.com

-Opening Aug 21 ... Anything Goes Juried Show and Cigar Box ... through Sept 23
-Bruce Hopkins & Susan Shore, Sep 25 - Octr 28
Graton Gallery | (707) 829-8912  | artshow@gratongallery.com
9048 Graton Road, Graton CA 95444 | Open Wednesday ~ Saturday 10:30 to 6, Sunday 10:30 to 4

Christopher Queen Gallery IN DUNCANS MILLS Christopher Queen Galleries
3 miles east of Hwy 1 on Hwy 116 on the Russian River
"Halcyon Summer" exhibition opens Sun, Jul 15 Reception 1-3
celebrating our 28th annual early artists of the Bohemian Club

http://www.christopherqueengallery.com |707-865-1318| Back to the Top
Paul Mahder Gallery Thumbnail IN Healdsburg Paul Mahder Gallery
http://www.paulmahdergallery.com

 (707) 473-9150 | Info@paulmahdergallery.com
222 Mill Healdsburg Avenue, Healdsburg, CA 95448 | Open Weds - Mon, 10-6, Sundays, 10-5
Hammarfriar Gallery Thumb IN Healdsburg Hammerfriar Gallery
http://www.hammerfriar.com

 (707) 473-9600
132 Mill Street, Healdsburg, CA 95448 | Open Tues - Fri 10 to 6, Sat 10 - 5, Sun 12 - 4


john Anderson
Petaluma Arts Council Art Center

IN PETALUMA Petaluma Arts Center
"... to celebrate local artists and their contributions and involve the whole community"

OPENING JULY 21 ... “Warren’s Eye: Paintings From the Vintage Bank,”
Artwork from the collection of Warren Davis (1949-2018), finder and purveyor of fine paintings at Vintage Bank Antiques in Petaluma. The exhibition opens Saturday, July 21 with a reception from 5 p.m -7 p.m.

Petaluma Center for the Arts

Links to current museum exhibits relevant to Early California Art
The Greater Bay Area
The Walt Disney Family Museum
This museum tells Walt's story from the early days.
(on the Parade Grounds) 104 Montgomery Street,
The Presidio of San Francisco, CA 94129

-- view location on Google Maps
--
Disney Museum Exterior Thumbnail San Francisco
de Young Museum
Cult of the Machine, Mar 24 - Aug 12
upcoming ... Gauguin: A Spiritual Journey
Nov 17 - Apr 7
Permanent Collection

De Young Museum Thumbnail
San Francisco
California Historical Society


California Historical Society Thumbnail San Francisco
Legion of Honor

Truth and Beauty: Pre-Raphaelites and Old Masters
through Sep 30
-Permanent European and Impressionist Paintings
San Francisco Legion of Honor Museum
San Francisco
Contemporary Jewish Museum

San Francisco's Contemporary Jewish Museum Thumbnail Oakland
Oakland Museum of California

-- ongoing Gallery of California Art
-showcasing over 800 works
from the OMCA's collection

Oakland Museum Thumbnail

San Francisco
SFMOMA

Rene Magritte: The Fifth Season thru Oct 28
http://www.sfmoma.org

SF Museum of Modern Art

Santa Rosa
The Museums of Sonoma County

Sonoma County Museum Thumbnail
Santa Rosa
Charles M. Schultz Museum

Charles M Schultz Museum Santa Rosa

Moraga
St Mary's College Museum of Art
California Watercolor Association
Watermedia: The Color of Summer
thru Aug 26

Hearst Art Gallery

Hearst Art Gallery Thumbnail
Sonoma
Mission San Francisco de Solano Museum

featuring the famed watercolor paintings
of the California Missions
by Christian Jorgensen
Mission San Francisco de Solano in Sonoma CA Sonoma
Sonoma Valley Museum of Art

551 Broadway, Sonoma CA
(707) 939-7862
Sonoma Museum of Art Exterior Thumb
Ukiah
Grace Hudson Museum

Our People, Our Land, Our Images
Jun 30 - Sept 30

http://www.gracehudsonmuseum.org
Grace Hudson Museum

Bolinas
Bolinas Museum

featuring their permanent collection,
including Ludmilla and Thadeus Welch,
Arthur William Best, Jack Wisby,
Russell Chatham, Alfred Farnsworth
.

Elizabeth Holland McDaniel Bolinas Embarcadero thumbnail
Walnut Creek
The Bedford Gallery, Lesher
Center for the Arts
Lesher Ctr for the Arts Walnut Creek CA San Jose
San Jose Museum of Art

approximately 2,000 20th & 21st
century artworks including paintings, sculpture,
new media, photography, drawings, prints, and artist books.
San Jose Museum of Art Thumbnail
Monterey
Monterey Museum of Art

A DON'T MISS EXHIBITION
E.. Charlton Fortune: The Colorful Spirit

through August 27

(See our March 2018 article)


Ongoing exhibitions ...
Museums Permanent Collection
including William Ritschel, Armin Hansen
and E. Charlton Fortune

http://www.montereyart.org
Monterey Museum of Art Palo Alto
Cantor Art Center at Stanford University
Cantor Art Center at Stanford University

Monterey
Salvador Dali Museum

Salvador Dali Museum Monterey Sacramento
Crocker Art Museum
NEW TWO-YEAR LONG EXHIBIT
Nature's Gifts
Early California Paintings
from the Wendy Willrich Collection

Opening April 22, 2018
& their marvelous Permanent Collection
http://www.crockerartmuseum.org
Sacramento
Capitol Museum

Governor's Portrait Gallery
Permanent Exhibits

(including one of our galllery's favorite artists,
Robert Rishell's portrait of Gov. Ronald Reagan
Capitol Museum Sacramento Thumbnail Stockton's Treasure!
The Haggin Museum

-Largest exhibition of Albert Beirstadt paintings anywhere,
plus the works of Joseph Christian Leyendecker,
Norman Rockwell's mentor.
see our Newsletter article, April 2011
Haggin Museum Stockton
Southern California (and Arizona)
Los Angeles
Los Angeles Museum of Art

Art of the Americas, Level 3:
Artworks of paintings and sculptures
from the colonial period to World War II—
a survey of of art and culture
& "Levitated Mass"
Los Angeles County Museum of Art Irvine (now part of UC-Irvine)
The Irvine Museum
"Drawing on the Past
Works on Paper "

Drawings, pastels and watercolors
Jul 7 - Oct 4

Irvine Museum Thumbnail
Santa Barbara
The Santa Barbara Museum of Art
Santa Barbara Museum of Art Thumbnail Orange
Hilbert Museum, Chapman University
The Hilbert Collection focuses
on California Scene Painting,
including most well known
20th century California watercolor artists

Hilbert Museum Chapman University Orange CA
Pasaden
Norton Simon Museum
-an Impressive Permanent collection,
European impressionist and post impressionist paintings
See our newsletter from March 2014
Norton Simon Museum Pasadena Pasadena
Pasadena Museum of California Art


Pasadena Museum of California Art Exterior thumb
San Diego
San Diego Museum of Art
Permanent Collection
San Diego Museum of Art Thumbnail

San Marino (near Pasadena)
The Huntington Library

American Art Collection
Paintings by John Singer Sargent,
Edward Hopper, Robert Henri,
Albert Bierstadt, Thomas Moran,
William Keith, Mary Cassatt,
Thomas Hart Benton and many more.

Huntington Library Art Collection Pasadena
Palm Springs
Palm Springs Art Museum

Permanent Collection
American 19th century Landscape Painting
Palm Springs Art Museum Thumbnail Laguna Beach
Laguna Museum of Art
Art Colony: The Laguna Beach Art Association, 1918-1935
Jun 24 - Jan 13
-California Art and only California Art
Permanent collection includes many historic
California Artists of the Laguna Beach Art Association

Laguna Art Museum
Prescott, AZ
Phippen Museum
Phippen Museum Entrance Hwy 89 Phoenix, AZ
Phoenix Art Museum
an excellent sampling of
Artists of the American West
Phoenix Art Museum
& Beyond
Honolulu, HI
Honolulu Museum
(see our Newsletter article
from February, 2015)


Honolulu Museum of Art Kamuela, HI (Big Island)
Issacs Art Center
65-1268 Kawaihae Road
Kamuela, HI  96743
(See our Dec '16 article "Hawaii's Paul Gauguin," 
modernist Madge Tennent, 1889-1972)

Isaacs Art Center
Seattle, WA
Seattle Art Museum
( see our article Mar 2018
French and American Paintings )
Seattle Art Museum Portland, OR
Portland Art Museum

Permanent Collection: American Art
Portland Art Museum Thumbnail
Washington D.C.
The Renwick Gallery

Permanent ... Grand Salon Paintings
from the Smithsonian American Art Museum
Renwick Gallery Washington DC Chicago, IL
Art Institute of Chicago
-John Singer Sargent and Chicago's Gilded Age
through Sep 30
-Permanent collection:
the Impressionists
Art Institute of Chicago Thumbnail
Cedar Rapids, IA
The Cedar Rapids Museum of Art
Grant Wood: In Focus

is an ongoing permanent collection exhibition.
Cedar Rapids Museum of Art

Bentonville, AR
Crystal Bridges
Museum of American Art

Crystal Bridges Museum of American Art
Washington D.C.
The National Gallery

Permanent collection
American Paintings
Tha National Gallery Washington DC Thumbnail Philadelphia , PA
The Philadelphia Museum of Art
Philadelphia Museum of Art Thumbnail
Philadelphia , PA
Barnes Foundation, Philadelphia Campus
Barnes Foundation Campus Philadelphia Brooklyn, NY
The Brooklyn Museum
American Art
Permanent Collection
The Brooklyn Museum Thumbnail
New York , NY
The Whitney Museum of American Art

The largest selection of works by Edward Hopper
The Whitney Museum of American Art New York Detroit, MI
Detroit Institute of Arts
American Art
Permanent Collection
Detroit Institute of Arts
Ottawa, Ontario
National Gallery of Canada
Canada National Gallery of Art    


By appointment only or online ... email or call ... Art@BodegaBayHeritageGallery.com / 707-875-2911

... IN GRATON, CA ...
Linda Sorensen's studio and Bodega Bay Heritage Gallery's showroom is now is located in Atelier One, Graton. You may view all paintings in Linda Sorensen's or Bodega Bay Heritage Gallery's online offerings. Call or email for an appointment.

... IN YOUR HOME ... Call or email for a an appointment. For a fee, we'll bring the art to you (up to 200 miles from Bodega Bay). Sales above $5,000, the travel fee is refunded.

... ON LINE ... Call or email about pieces which interest you. We offer FedEx shipping (included in price) in the U.S for major purchases.


At present, we are acquiring few paintings. We are interested in considering works by Joshua Meador, or exceptional paintings by a few other Historic California artists. We do not do miscellaneous consignments but do represent artist estates. We do not provide appraisal services.

DO NOT CALL AND EXPECT A THOUGHTFUL ANSWER REGARDING YOUR PAINTING, ... INSTEAD, Please EMAIL US (Art@BodegaBayHeritageGallery.com) along with a high resolution jpeg image of your painting. Include the name of the artist, its title, dimensions and condition. Please include any history or provenance. Rather than responding off the cuff, in a timely fashion, we will read your note, do our homework, and write back and let you know if we wish to acquire your painting or we may give you our our ideas on how best to market your painting through other resources.