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BEATRICE MANDELMAN - RAIN 1
24 x 20"
ACRYLIC ON CANVAS
$ 7,000.00

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Clinton Adams (California 1918—2002 New Mexico) studied at the University of California, Los Angeles, followed by service in World War II. He returned to teach at UCLA and at the universities of Kentucky and Florida before becoming one of the founders in 1960 of the Tamarind Lithography Workshop in Los Angeles. Ten years later in 1970 Tamarind relocated to Albuquerque, NM, where Adams became a professor and dean at UNM and Tamarind’s director, authoring numerous articles and books on lithography. He retired from teaching in 1985 to paint and write. That same year he received the New Mexico Governor’s Award for Outstanding Contributions to the Arts. In 1993 he was elected an Academician by the National Academy of Art.

Frederick Hammersley (Utah 1919—living New Mexico) studied at the University of Idaho, Pocatello, Chouinard Art School, Los Angeles, CA, Ecole des Beaux Art, Paris, France, and the Jepson Art School, Los Angeles. After serving in the army during World War II, he taught at several of his alma maters, the Pasadena Art Museum, and Pomona College before moving to Albuquerque in 1968 where he taught at UNM, participating in an experiment in producing art using the university’s IBM mainframe computer. His artworks fall into three categories: hunch paintings (1953-59), geometries (1959-1990s) and organics (1964, 1982-present). His work was featured in a 1999 traveling exhibition Visual Puns and Hard Edge Poems, and the 2007 exhibition Hunches, Geometries, Organics,” at Pomona College Museum of Art and the Montgomery Art Center.

Janet Lippincott (New York 1918—living New Mexico) was trained at the Todhunter School, New York’s Art Students League, San Francisco Art Institute and Colorado Springs Art Center. Following World War II, in which she served in the Women’s Army Corps on the European staff of Dwight Eisenhower, Lippincott visited New Mexico in 1949 to study with Emil Bisttram, moving to Santa Fe in the early 1950s. She worked in a variety of media, including lithographs at Tamarind. Her work is in museum collections throughout New Mexico, as well as in the Denver Art Museum, Santa Barbara Museum of Art and Columbia Museum of Fine Arts. In 2002 she received the New Mexico Governor’s Award for Excellence in the Arts and in 2003 the New Mexico Women in the Arts Achievement Award, National Museum of Women in the Arts, Washington, DC.

William Lumpkins (New Mexico 1909—2000 New Mexico) was tutored in Zen Buddhism as a youngster, going on to Roswell where he was mentored by Peter Hurd. In the early 1930s Lumpkins saw the watercolors of John Marin which inspired him to paint abstractly. He moved to Santa Fe in 1935 and met Raymond Jonson becoming involved in Jonson’s and Emil Bisttram’s Transcendentalist Group, which espoused exploring the spiritual qualities of physical reality. Because marketing modernism was a challenge at the time, Lumpkins became an architect specializing in solar designs. His work was recognized by the Santa Fe Rotary Foundation with their Distinguished Artist Award in 1998, the same year Lumpkins and J. Traugott published Pueblo Architecture and Modern Adobes featuring Lumpkins’ residential designs.

Beatrice Mandelman (New Jersey 1912—1998 New Mexico) studied at the Newark School for Fine and Industrial Art, NJ, Rutgers University, New Brunswick, NY, and the Art Students League, New York, NY. She went on to work in the mural division of the WPA. In 1942 she married artist Louis Riback and at the suggestion of John Sloan, the couple moved in 1944 to Taos. While living there she traveled extensively, studying in Paris with Fernand Leger and spending considerable time back in New York, Mexico, Europe, Greece, India and Egypt. Her work is found in museum collections throughout the country, including the Museum of Modern Art, The Brooklyn Museum and the Whitney Museum of American Art, all in New York, and the National Gallery of Art, Washington, DC.

Florence Pierce (Washington, DC, 1918—living New Mexico) was educated at the Duncan Phillips College Studio, and moved to Taos in 1936 to study at Emil Bisttram’s School of Art where she met her husband Horace Towner Pierce, one of the founders of the New Mexico Transcendentalist Painting Group. Pierce was featured in a 1990-91 retrospective at the Museum of Fine Arts, Santa Fe. She received the 2003 Governor's Award for Excellence in the Arts, the 2001 New Mexico Women in the Arts Achievement Award, National Museum of Women in the Arts, Washington, DC, and the1996 Albuquerque Arts Alliance Award for Fine Art. Her work is in the permanent collections of the Albright-Knox Art Gallery, Henry Art Museum at University of Washington, WA Rockefeller University, New York, and Sasebo Museum, Japan.

Louise Ribak (Lithuania 1902—New Mexico 1979) immigrated to the United States at age ten and settled in New York where he studied at the Art Students League. There he met Joan Sloan who encouraged him to illustrate for the radical periodical New Masses. Committed to Social Realism, Ribak was a member of the short lived John Reed Club and the successful Federal Art Project Silk Screen Group. Ribak married Bea Mandelman in 1942 and was drafted that same year but released in 1944 because of asthma. He and Mandelman moved to Taos, where Ribak switched to nonobjective art and they opened the Taos Valley Art School which closed in 1953 when they returned to New York. Three years later they returned to Taos. His work was included in the 1934 Venice Biennial and is the permanent collections of the Whitney Museum of American Art, The Metropolitan Museum of Art, the Smithsonian American Art Museum and museums throughout the Southwest.

Earl Stroh (New York 1924—2005 New Mexico) studied at the Art Institute of Buffalo, The Art Students League, New York, The University of New Mexico, and the Atelier Friedlander in Paris. He visited Taos in 1947 and moved there a year later, studying with Andrew Dasburg and Tom Benrimo. He began making lithographs at Tamarind in the 1970s. Stroh also traveled and studied throughout Europe and in South America. His famed Taos Makimono Suite of lithographs was the subject of a 2004 exhibition at the Harwood Museum, and his work is in permanent museum collections throughout New Mexico, as well as the Art Institute of Chicago, Cincinnati Art Museum, Dallas Art Museum, Fort Worth Fine Arts Museum, and Denver Art Museum.

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