Taos Artists and Their Patrons
Porter, Dean, Ebie, Teresa Hayes, Campbell, Suzan, Southwest Art
The northern New Mexico village of Taos, shaped through the centuries by ancient Native American and Hispanic Catholic cultures, is an unusual setting for this study of American art patronage. Yet, above all, patronage is about relationships between artists and those who sponsor the creation of their work, celebrate its existence through exhibitions and critical notice, and acquire it. And in no place did such relationships between artists and their patrons play a more pivotal role in American artists' economic and creative survival during the first half of the 20th century than in this remote mountain community in the Land of Enchantment.
Why did artists go to Taos? What held them there? How did the artists of Taos attract patrons? How were the challenges of living and working in Taos different from those in New York or Chicago or St. Louis-or in other American art colonies-and how did Taos artists respond?
Taos Artists and Their Patrons, 1898-1950 examines artists' age-old dilemmas: how to use every possible resource-of time, energy, and creative impulse-to make art and still manage to pay the bills. How to provide food, clothing, and a warm place to live and work, in most cases not only for themselves but also for their families. And how to fulfill the need, less frequently considered, for emotional support and encouragement: how to fuel the fires of creative passion, feed the spirit, and keep the faith during dark times. In the early years of the art colony, patronage in many guises offered solutions to these dilemmas, making it possible for artists to live and work in Taos.
The American Heritage Dictionary describes a patron as "anyone who supports, protects, or champions; [a] benefactor." As our concept for Taos Artists and Their Patrons developed, the authors took this definition to heart, stretching and even redefining the traditional notion of art patronage to encompass not only monetary support through purchases and commissions but also to include those who fostered-and rewarded-the artists' creative efforts in other, less tangible ways. We identified many kinds of patronage, including individual, corporate, commercial, community, governmental, spousal, and collegial (in innovative ways artists too were one another's patrons). …