An introduction and a guide to the painters of Santa Fe.

Richly illustrated, Artists of the Canyons and Caminos traces the lives and work of painters who settled in Santa Fe in the early years of the twentieth century. Under their influence, Santa Fe grew from a dusty high-desert town with no paved streets or automobiles to a thriving community. Artists of the Canyons and Caminos features a new foreword by publisher Gibbs M. Smith, and reveals little-known facts and profiles of the personalities who catalyzed this transformation. Above all, it illuminates their common bond: an enduring love for the beauty of the land that called to them in the first place. Some places in the world have a particular atmosphere, a sense of romance, which makes them "good places to paint." Santa Fe, New Mexico-with its clean, sharp air; its startlingly bright colors; its sculptured mesas and mountains-is one of these places. Artists of the Canyons and Caminos includes: A brief chronology of Santa Fe from its inauguration as a state capital housing the oldest public building in the United States (Palace of the Governors); to the first annual exhibition of the Cinco Pintores in 1921, when of the town's population of 7,000, 15 were resident artists; to the opening of the Institute of American Indian Arts in 1962. Descriptions of the broad spectrum of representational styles that flourished there, from romance to super-realism. Major patrons of the arts: railroads, scientists, territorial senators, lawyers, well-to-do retirees. The artists' missions: admiration for the local Indians and their arts, encouragement of young artists of all nationalities, solidarity to prevent Santa Fe from being overly Americanized.

Ladies of the Canyons is the true story of a group of remarkable women whose lives were transformed by the people and landscape of the American Southwest in the first decades of the twentieth century.

This book tells the story of the thousands of “health seekers” who journeyed to New Mexico from 1880 to 1940 seeking a cure for tuberculosis (TB), the leading killer in the United States at the time. By 1920 such health seekers represented an estimated 10 percent of New Mexico’s population. The influx of “lungers” as they were called—many of whom remained in New Mexico—would play a critical role in New Mexico’s struggle for statehood and in its growth. Nearly sixty sanatoriums were established around the state, laying the groundwork for the state’s current health-care system. Among New Mexico’s prominent lungers were artists Will Shuster and Carlos Vierra, who “came to heal and stayed to paint.” Bronson Cutting, brought to Santa Fe on a stretcher in 1910, became the influential publisher of the Santa Fe New Mexican and a powerful U.S Senator. Others included William R. Lovelace and Edgar T. Lassetter, founders of the Lovelace Clinic, as well as Senator Clinton P. Anderson, poet Alice Corbin Henderson, architect John Gaw Meem, aviator Katherine Stinson, and Dorothy McKibben, gatekeeper for the Manhattan Project. New Mexico’s most infamous outlaw, Billy the Kid, first arrived in New Mexico when his mother, Catherine Antrim, sought treatment in Silver City.

Vividly illustrated and exhaustively researched and documented, Painters of Utah's Canyons and Deserts weaves a sweeping tapestry of artists' attempts to capture the majesty, rare beauty, and raw danger of Utah's frontier West. A COMPREHENSIVE HISTORY OF ARTISTS WHO PAINTED SOUTHERN UTAH, INCLUDING: Solomon Nunes Carvalho Frederick S. Dellenbaugh John Heber Stansfield William Keith Samuel Coleman Thomas Moran Minerva B. K. Teichert Maynard Dixon LeConte Stewart J. Roman Andrus Birger Sandzén Everett Ruess Georgia O'Keeffe Max Ernst Alfred Lambourne Henry L. A. Culmer Donald Beauregard

First Published in 1997. North American Women Artists of the Twentieth Century: A Biographical Dictionary was created to fill a gap of there being a comprehensive reference work like this available, even though the bibliography in English on various aspects of the history of women artists has grown exponentially during the past ten years. As researchers, the editors have been frustrated many times by being unable to locate basic information about many of the artists included in this volume—especially those working outside the United States. This leads directly to another reason for producing this particular kind of reference book—to try and create a better understanding between and among the artists and art audiences in these countries.