Santa Fe Artist Colony Archives | Gallup New Deal Art

Harold Edward West

Harold (Hal) Edward West was born in Honey Grove, TX, and grew up in Mill Creek and Tishomingo, OK. Despite taking an early interest in drawing, he did not obtain much in the way of a formal art education. He took a few classes, one of which resulted in a prize for “best oil painting” at the county fair, and apprenticed at a commercial art studio in Dallas, TX, during or shortly after high school. He then went to work on the Mississippi River, eventually moving to Santa Fe, NM, in 1926, where he pursued a career in the arts.

To start, West mostly worked as a commercial artist. Through the first half of the 1930s, he ran a business hand-printing textiles and calendars. He joined the New Deal in 1937 or 1938, mostly producing woodblock prints but also taking up oil painting again. He credits New Mexico’s Federal Art Project Director Russell Vernon Hunter as one of his mentors, and the New Deal as encouraging him to pursue a career in painting. In a 1964 interview, he referred to the New Deal as a “happy little period”: “It was a wonderful thing, and it helped me. I was still making a living . . . I stayed home and painted . . . They financed all the material, canvas and everything—brushes. And I got enthusiastic about painting and stayed with it.”¹

While West would continue to take commercial art jobs (for example, designing the front cover for and illustrating Death in the Claimshack by John L. Sinclair), the New Deal brought him recognition within the realm of Western American art. He was given a solo show at the state art museum in 1938 and was selected as one of the artists to represent New Mexico at the 1939 New York World’s Fair, having developed a reputation as a self-taught artist uniquely adept at depicting frontier life—horses, cattle, and cowboys in particular. Echoing the sentiments of many of his contemporaries, Santa Fe New Mexican art critic Ben Krebs wrote of West in 1938 that “much of his life has been spent on ranches and his insight and understanding of ranch life and cowboy behavior is true.”² Indeed, he lived on a 240-acre homestead south of Santa Fe with his wife and five children.

At the end of the New Deal and during WWII, from 1941 to 1945, West worked as a guard at the Santa Fe Internment Camp, a Japanese prison camp. During that time, he made a number of sketches of his fellow guards, which are now held by the Fray Angelico Library Archives.

West returned to painting professionally in 1945. In 1960, he opened a gallery at 601 Canyon Road in Santa Fe, and quickly became a fixture of the famous art district, known for straight talk and playing horseshoes (and poker). He created the “Guide to Canyon Road,” a directory of galleries on the street. West died at the age of sixty-six after a long illness.

Eliseo Rodriguez

Eliseo Rodriguez grew up near the now-famous artistic enclave of Canyon Road in Santa Fe, NM. As a teenager, he delivered firewood and did odd jobs for Canyon Road residents—scholars, artists, writers, and patrons who made up the town’s “Anglo intelligentsia.”¹ It was there he first met Józef Bakoś and other members of “Los Cinco Pintores.”

At the age of fifteen, Rodriguez was granted a two-year scholarship to the Santa Fe Art School, where he was admitted as the “only Spanish.”² There, his teachers included Bakoś.

In 1935, Rodriguez married his wife, Paula. They built a house and lived the rest of their life close to where Rodriguez was born.

Rodriguez was hired by the Federal Art Project (FAP) in 1936: “When I took my craft work, paintings on glass, carvings and tinwork, in for sale . . . the store manager told me she couldn’t buy any more items, but maybe I should go meet Russell Vernon Hunter [State Director of the Federal Art Project for New Mexico],” Rodriguez recalled in a 2003 interview. Hunter instructed him to apply for relief at the county courthouse to prove eligibility for the FAP. “[After being approved] I went back to Mr. Hunter. He gave me all kinds of materials to work with, canvas, paint, watercolors, everything. I was excited and felt like I was in business.”³

Rodriguez contributed to the FAP in a variety of ways—he was, in his words, “always willing to do anything I was asked to do. I was willing to be versatile.”⁴ Over the course of his employment with the FAP, Rodriguez helped Paul Lantz complete a mural for the Texas Centennial. He also helped friend, neighbor, and colleague Louie Ewing apply the silkscreen printmaking technique to create a portfolio of Navajo rug designs for the Laboratory of Anthropology (founded in 1927 by John D. Rockefeller to study the Southwest’s Indigenous cultures; the Laboratory is now part of the Museum of Indian Arts and Culture). Additionally, he hand-colored prints for the Portfolio of Spanish Colonial Design. Rodriquez also painted in reverse on glass and created oil-on-canvas paintings for the FAP.

“[I made] $75 a month. We were paid by the month and since we didn’t have a family yet that took care of our grocery needs for a month. You turned in your work once or twice a week or once or twice a month depending on how fast you worked.”⁵

Rodriguez was one of the few highly regarded Hispano artists working for the FAP. “There weren’t a whole lot of Spanish people working in the Project . . . We weren’t just assistants. Although in some cases, we were considered helpers.”⁶ The Museum of New Mexico Art Gallery (now the New Mexico Museum of Art) first exhibited his work in 1936, and by 1938, “his paintings also hung alongside works by his teachers and other recognized Anglo artists, including . . . Sheldon Parsons.”⁷

E. Boyd, who supervised the creation of the Portfolio of Spanish Colonial Design for the FAP (and who later became a curator of Spanish Colonial art at the Museum of New Mexico Art Gallery and then the Santa Fe Museum of International Folk Art), introduced Rodriguez to the straw appliqué technique. “She said that this form of straw art originated in Africa, was picked up by the Moors in Spain and brought by the Spanish to New Mexico,” said the artist. “It was tacky, messy, and tedious work . . . I was willing to try anything so I tried doing the straw inlay appliqué work and enjoyed doing it and wanted to keep it going as a form of art that was dying out.”⁸

By the 1950s, Eliseo and Paula Rodriguez were the last remaining practitioners of straw appliqué in New Mexico. In the 1970s, with encouragement from a conservator at the Museum of International Folk Art, they began exhibiting their work. Today, Eliseo and Paula are credited with saving and renewing the art form, which is once again thriving in New Mexico. In 2004, the National Endowment for the Arts made both artists National Heritage Fellows.

While Rodriguez is most famous as a straw appliqué artist, he was multitalented, working in a variety of media such as oil on glass, oil on canvas, watercolor, lithography, ceramics, wood, and cabinetry. Rodriguez credits the FAP with his success: “It did more for me than if I had gone to college. It gave me so many possibilities.”⁹

Sheldon Parsons

It is largely by serendipity that Sheldon Parsons became a painter of the New Mexico landscape. A student of noted artist William Merritt Chase at the National Academy of Design, Parsons was enjoying a career as a successful New York City portraitist in the early 1900s. President William McKinley and Susan B. Anthony were two of the famous Americans whose likenesses he painted. However, his career and life trajectory abruptly changed upon the death of his wife in 1913. Parsons sold everything and headed west with his twelve-year-old daughter to complete a mural commission in San Francisco. Parsons suffered a relapse of tuberculosis in Denver, and, on the advice of doctors, the duo changed course to head south to the curative climate of New Mexico.

Parsons settled in Santa Fe and, absorbed by the color and light of his new surroundings, began to paint landscapes saturated with the blue, red, and golden hues of the Southwest. He immediately made an impression in the budding artists’ colony, and his paintings quickly became “one of the chief attractions at the state museum in Santa Fe [the Museum of New Mexico].”¹ At the same time, Parsons continued to show in New York City as a member of the prestigious Salmagundi Club, and his work was also exhibited across the country from Chicago to Oklahoma to Washington, DC. In 1914 and 1916, Parsons completed commissions from the Santa Fe Railroad for two paintings of the Grand Canyon. Within a year of its 1917 opening, the Museum of New Mexico Art Gallery (now the New Mexico Museum of Art) arranged a “permanent Parsons gallery . . . which [was] hung with 22 of his most representative canvases.”²

Parsons was a key figure in consolidating the efforts and cementing reputations of the Taos and Santa Fe art colonies. From the time he moved to Santa Fe, Parsons supported the Museum of New Mexico. In 1915, he organized an exhibition of Taos artists that was described thusly: “never before in its history has the southwest seen so great or so typically an American art exhibit.”³ By 1920, Parsons was appointed “curator of art exhibits” for the museum’s Art Gallery, a post he held for two years.

As curator, he engaged in the burgeoning debate over the new modernist movement. Parsons himself tended toward a more realist approach in his work. Though he was denied membership in 1923 to the academically inclined Taos Society of Artists, he remained informally affiliated with the group, spending a lot of time painting in Taos—and his daughter married Taos Society artist Victor Higgins in 1919. Yet Parsons remained open-minded. Contemporary critics noted changes in his approach—a move toward bold colors and “freedom . . . in handling”⁴—as he exhibited frequently in Santa Fe in the teens. After assuming the position of art museum curator, Parsons defended modernism, writing that “this movement in modern art is too great, too universal a movement, for there not to be some grain of truth at its heart and doubt begets humility and humility begets wisdom.”⁵ He then rearranged the Southwestern art exhibit at the museum, provoking praise from some and criticism from others. Parsons dismissed his critics as “illiterates applauding with their mouths”⁶ in a letter to the editor of the Santa Fe New Mexican. Yet the political overtones of the debate—several modernist artists were staunch leftists, and the artistic community generally tended toward a “bohemian” outlook at odds with Santa Fe’s conservative political leadership—ultimately cost Parsons his job. He was fired to appease tensions between the museum and civic leaders.

Another notable achievement of Parsons’s as curator was to arrange a “loan art exhibit” of one hundred works from private collections in Santa Fe, the first of its kind. Parsons also helped to organize the Santa Fe Arts Club in 1921, which some scholars mark as the official beginning of the Santa Fe art colony.⁷

Over the next decade, Parsons continued to evolve, increasingly edging on modernism. Yet by the mid-1930s, as “radical” movements such as Transcendentalism gained a foothold and younger artists took charge of the Santa Fe art colony, Parsons’s work began to look “conservative, with Parsons himself being relegated to the ‘old guard.’”⁸ In 1938, one critic referred to him as the “dean of New Mexico landscape painters.”⁹ Though Parsons died in 1943, his work continued to be a staple of the Santa Fe art scene and museum exhibits.

T. Harmon Parkhurst. Sheldon Parsons, 1935?. Courtesy of the Palace of the Governors Photo Archives (NMHM/DCA), 073941.

Helmuth Naumer, Sr.

Born and raised in Germany in the heart of the Black Forest, Helmuth Naumer, Sr. dreamed of the American West he knew from “cowboy and Indian” novels by German author Karl May. In 1925, at the age of eighteen, he left for New York. As a naturalized citizen, he spent the next year traveling across America, stopping briefly in Santa Fe, NM before reaching Los Angeles, CA in 1926. Low on funds but still consumed by wanderlust, he joined the Merchant Marine and served at sea for six years. In 1932, he moved to Santa Fe, the town that in his view epitomized the “Old West.” Naumer said he “wanted to make a record of this country before it was overrun, still wild and beautiful because once that’s gone, we can never get it back.” Naumer built a home and studio on San Sebastian Ranch and raised horses.

Naumer quickly became known for his pastels on black paper. “Pastels are particularly suited for painting Western landscapes,” Naumer said. “Their soft tones match those of the distant mountain ranges and accentuate the delicate shades of our sunsets.”¹

Between 1935 and 1936, Naumer was commissioned by the National Parks Service, through the Works Progress Administration, to create artwork for the newly built visitor center at Bandelier National Monument. Naumer said he was paid $45 per month² to create fourteen pastel scenes depicting views of the Monument and nearby Pueblo villages (still on display at the Monument’s visitor center). For these paintings, the artist spent time living at Kewa (Santo Domingo) Pueblo.³ In 2016, the US Postal Service used Naumer’s painting Administration Building, Frijoles Canyon on a “Forever” stamp as part of a sixteen-piece set commemorating the National Parks Service’s centennial.

Of his experience as an artist in New Mexico during the New Deal, Naumer said: “It was difficult being an artist here, especially during the Depression when nobody had any money. To get along you had to trade pictures for necessities. I traded for furniture, for cars, for horses and goats.”⁴

Naumer continued as a prolific pastelist, though he also worked in oils and watercolors over the course of his career. In the late 1930s, he was traveling 1,500 miles each month across the state to paint en plein air (outdoors). “I can’t explain it, but paintings made at the scene sell better than those made in a studio of some imagined landscape,” he said. “Perhaps it’s some detail or shading at the actual scene that would be omitted from a studio painting.”⁵ He won prizes at the New Mexico State Fair each year he exhibited between 1939 and 1955, and his contemporaries excitedly noted that magazine magnate Henry Luce was one of his collectors.

In 1938, a newspaper columnist asked Naumer about Hitler’s rise to power. According to the writer, “Naumer’s merry grey eyes instantly became serious and he said: ‘It will probably be two or three years from now—perhaps sooner—but someday things are going to pop wide open in Europe and it will be the worst war this hectic world has ever experienced.’”⁶ Naumer went on to serve as a staff artist in the Army during WWII. After returning home, Naumer continued to paint and exhibit, and his work became increasingly abstract.

Describing his career in a 1959 pamphlet, he said that “though born in Europe and having lived in many places in the world, coming to the Southwest was like coming home. Here I found peace and beauty and these I try to paint.”⁷

Paul Valentine Lantz

Paul Lantz’s art career was fast and furious, at least for the first part. He enrolled at the Kansas City Art Institute at the age of fifteen,¹ reportedly the youngest student ever enrolled. Two years later, Lantz moved to New York City and worked as a dishwasher to fund his studies at the Art Students League. One version of the story is that after four years, the stock market crash prompted him to board a freight train to Santa Fe. Another version, recorded in Town & Country magazine, is that he hopped a boxcar to the Southwest after he “too enthusiastically” witnessed a Communist meeting in Union Square.² In any event, he made his way to New Mexico, his connection to the state being that of Taos Society of Artists member Randall Davey, who had been his teacher in Kansas City. Davey would continue to mentor Lantz and help to facilitate his career for the next decade.

Lantz lived and painted in Santa Fe and Albuquerque from 1930 to 1939, and in that time left a lasting mark. Lantz’s career operated on two parallel tracks. His living was mostly made as a commercial artist, creating murals and embellishing furniture for La Fonda Hotel, fulfilling portrait commissions, restoring church frescoes, and painting the “Toyland” set for the town of Madrid’s famous Christmas display. At the same time, he pursued his career as a “fine” artist. In 1933, he helped found the Rio Grande Painters, a modernist artist society that successfully organized shows across the state for several years.

During the New Deal, Lantz was first employed by the Public Works of Art Project as an easel painter. He made landscapes and scenes of Cabeza de Vaca’s exploits to hang in government buildings. Lantz was later employed by the Federal Art Project and in this capacity painted a mural for the Clovis Post Office between 1937 and 1938. Though he made a research trip to Clovis to prepare for the project, the subject matter of which was the history of Clovis, Lantz’s mural was criticized by locals for its lack of accuracy. “Old timers [attacked] it . . . saying that some of the buildings are in the wrong places and that a water trough, a conspicuous object on the street in the early days, has been omitted entirely from the picture. Others have attacked the appearance of a horse in the mural,” saying that it looked like it only had three legs. The Clovis News-Journal pointed out that “the animal’s position indicates that the [horse] is single-footing—something a cowboy would not tolerate.”³ Despite such thorough scrutiny, in 1939 Lantz’s art was chosen to represent New Mexico at both the New York World’s Fair and the Golden Gate International Exposition in San Francisco.

In 1940, to fund a trip to New York City for a show of his work in a Park Avenue gallery, Lantz incorporated himself and sold fifty shares for $10 each in “Paul Lantz Inc.”⁴ It is unclear if this enterprising move paid off. From New York, Lantz sent a painting back to Santa Fe to be sold at the Museum of New Mexico Art Gallery for $500, with the proceeds going to his shareholders as “dividends.” Lantz’s business ventures ultimately led to his divorce, and in a 1942 court filing, his wife declared the couple “broke.”⁵

The second half of Lantz’s career involved travel and mostly commercial artistic production. Lantz served as an artist in the Army during World War II and moved to California afterward. He then spent a decade on a farm in upstate New York and a few years in Mexico City. During this time, he worked as a book illustrator, illustrating more than twenty-five books including the 1942 Newberry Medal winner The Matchlock Gun by Walter D. Edmonds and Little Navajo Bluebird by Ann Nolan Clark. Once he decided to start painting “seriously” again, it was only a few years before he returned to Santa Fe permanently in 1973.

In a 1976 Southwestern Art article, Lantz’s contemporary John Jellico characterized him as a “Modern Old Master,” noting the color, dynamism and “fine pattern of movement” within his work.⁶

John A. Jellico

John Jellico was an artist, educator, and writer, with a life and career that spanned several states, industries, and genres.

Born to Austrian immigrants (his gravestone marker notes that his mother was a passenger on the Carpathia when it rescued Titanic shipwreck survivors), Jellico was raised in northern New Mexico and graduated from Raton High School in Raton, NM. He set his sights on the artistic profession from an early age, and worked diligently to achieve his goal. According to an unpublished biography written by his daughter, Nancy Norris Jellico, “his quest for knowledge about art and artists was insatiable and he was never idle. In high school his teachers discovered his art ability and kept him busy with posters, backdrops for plays, and other school artwork. He sketched and painted constantly.”¹

Jellico was also aided in his quest during his high school years by Manville Chapman, a noted artist with ties to Taos, NM, originally from Raton. Chapman immediately recognized Jellico’s talent and exchanged art lessons for modeling work. With Chapman’s help, Jellico was able to start selling paintings, adding those earnings to the savings he was putting away for art school from his summer jobs as a ranch hand.

After graduating high school in 1934, Jellico immediately enrolled in The Art Institute of Pittsburgh. After his first year, he was awarded a scholarship which enabled him to squeeze his next two years into one by taking both day and evening classes. After graduating in 1936, Jellico pursued another year of study at the Phoenix Institute of Art in New York City, where he trained with top illustrators of the period, including Norman Rockwell. Reportedly, Rockwell criticized Jellico’s drawing of horses, to which Jellico retorted that he had no right to do since Rockwell had never lived in the West. Jellico spent the next five years mainly working as a book illustrator and commercial artist, while also showing and selling at Greenwich Village galleries and continuing his education through night classes at the Grand Central School of Art.

While living in New York City, Jellico maintained his ties to New Mexico, exhibiting in Raton in at least 1938 and 1941. Additionally, according to his daughter’s biography, he spent the summer of 1937 in New Mexico during which he painted a mural for a church in Raton. Perhaps that is also when he became involved in the state’s federal art programs. In an undated, handwritten note to Kathryn Flynn, author of Public Art and Architecture in New Mexico: 1933-1943, Jellico reported that he produced “a large number of easel paintings” for the WPA (Works Progress Administration). He also describes being hired by the WPA to create twenty-seven ceiling decorations with Juanita Lantz for the Raton Public Library (since demolished).²

In 1942, Jellico enlisted and spent the bulk of his military service working under the Chief of Chaplains of the US Air Force and painting murals for sixty-three Air Force chapels.

At the end of WWII, he was offered a job as an instructor at his alma mater, The Art Institute of Pittsburgh, where he would also become the Assistant Director in three years’ time. With the West calling him home, he moved to Denver, CO, in the mid-1950s to help build the Colorado Institute of Art, leading the school until its sale in 1975 (after which it became the Art Institute of Colorado; now closed).

While fulfilling his role as art educator and administrator, Jellico also authored several instructional books, including How to Draw Horses for Commercial Art (1946) and textbooks for the International Correspondence Schools of Scranton, became a magazine editor and writer, and co-founded a gallery in Santa Fe in 1969, which prompted him to return full-time to painting and exhibiting.

Louie Ewing

Louie Ewing is best known as a pioneer of silkscreen printmaking in the United States, a reputation he earned as a New Deal artist. Ewing moved to California in 1933, where he studied art at a junior college. He followed one of his instructors to Santa Fe, NM, in 1935, and almost immediately started working for the state’s Federal Art Project (FAP).

Ewing was first hired by the FAP to work as an engraver on the Portfolio of Spanish Colonial Design. He was then classified as an experimental artist¹ and, as such, commissioned by the Project’s director, R. Vernon Hunter, to try new ways of working, including mosaic and silkscreen printing. His best-known contribution to the New Deal is the Navajo Blanket Portfolio, a set of fifteen silkscreen prints of Navajo weavings.

For the Portfolio project, Ewing was hired in 1939 through the FAP by the Laboratory of Anthropology (founded in 1927 by John D. Rockefeller to study the Southwest’s Indigenous cultures; the Laboratory is now part of the Museum of Indian Arts and Culture) to make prints of its Navajo rug collection for distribution to the United States Indian Arts and Crafts Board “in furthering the improvement of Navajo weaving,” to “Indian service schools” for instructional purposes, and to other public educational institutions such as universities, libraries, and museums. Ewing first made paintings of the rugs and then was assisted by Eliseo Rodriguez in producing 200 prints of each painting. Silkscreen printing was such a novel technique at the time that it took the artists three days to make their first print. “We [first] made our squeegees, to move the paint across the screen, out of an auto tire because there wasn’t a squeegee invented then,” Ewing recalled. “And then we used a window-cleaning thing and that didn’t work because the oil melted the rubber.”² Finally, they partnered with a local manufacturer to design and produce equipment that worked.³ Only ten of the original fifteen prints have survived in Gallup’s collection, but the National Gallery of Art has a complete set.

Ewing credits the New Deal with helping to launch his career, saying it offered “a wonderful chance, from getting out of art school to make a transition to professional, and besides making it possible to eat,”⁴ and adding that “I could break away from the WPA [Works Progress Administration] and have my own business.”⁵

Indeed, he continued as a prolific serigrapher for the next four decades, producing silkscreened posters for the Gallup Inter-Tribal Indian Ceremonial from 1939 to at least 1971⁶ and receiving numerous book commissions from major institutions across the country. Additionally, he taught at the Santa Fe Indian School in the 1940s and introduced artist Harrison Begay to silkscreen printing, a technique Begay would later translate into a successful printmaking business called Tewa Enterprises. After the New Deal, Ewing expanded his repertoire to include oil paintings, watercolor, gouache, and acrylic. He had his first solo show in 1946 at the New Mexico Museum of Art.⁷

Józef Bakoś

Józef Bakoś was a pioneering Santa Fe artist who was heralded in the 1930s as “America’s leading water-colorist.”¹ Born and raised in Buffalo, NY, Bakoś moved to Denver, CO, to continue his artistic studies after graduating from the Albright Art School. Bakoś first visited Santa Fe, NM, in 1920. While on a break from teaching at the University of Colorado in Boulder, he visited his childhood friend Walter Mruk, a carpenter who carved furniture for the city’s La Fonda Hotel. Bakoś returned the next year to settle permanently in Santa Fe, becoming part of a movement of East Coast artists searching for new subjects and environments.

The 1920s through the 1940s was a defining period in American art, and Bakoś actively engaged in the debate between artistic tradition and progression as a breakthrough modernist who quickly achieved critical acclaim. Moreover, Bakoś served as an organizing force within an emerging Santa Fe artists’ colony, which he has been credited with helping to establish. In 1921, Bakoś co-founded Los Cinco Pintores with four other like-minded modern artists. Together, they successfully mounted an exhibition at the recently founded Museum of New Mexico Art Gallery (now the New Mexico Museum of Art). Bakoś also helped establish the New Mexico Painters in 1923. That same year he was refused admission to the Taos Society of Artists, highlighting the ideological divide between academic realism and modernist experimentation, as well as the snobbery between artists with formal European training and those without.

Influenced by Paul Cézanne, Bakoś painted the New Mexico landscape—almost always on location—with vigor and lyricism. In 1925, Donald Bear, who would become the director of the Denver Art Museum and a regional adviser for the Federal Art Project in the mid-1930s, described Bakoś’s watercolors as “reach[ing] beyond their medium and almost ceas[ing] to be in the picture class, but rather becom[ing] electrified energetic planes of force pushing against one another.”² However “modern” it may have been for its time, Bakoś’s work was widely appreciated. A contemporary described him as “not willing to remain within the confines of painting as marked out in the past” while also not desiring “to startle the public or to achieve originality by any freak method of execution.”³

By 1935, Bakoś was represented in the permanent collections of the Denver Art Museum, the Whitney Museum, the Brooklyn Museum, and other collections across the country,⁴ but he often discussed the struggle to make a living as an artist. Indeed, he continued to teach after moving to Santa Fe, becoming the head of the Santa Fe Art School (affiliated with the University of Denver) in 1933,⁵ and teaching public school for at least one year in 1941.⁶ The artist fraternities he helped found—in addition to Los Cinco Pintores and the New Mexico Painters, Bakoś was involved with the Santa Fe Art Club, the Santa Fe Painters and Sculptors, and the Art League of New Mexico over the course of his career—were often as much about ideology as about creating exhibition opportunities and earning a living. “It’s very difficult to make a living out of painting,” he said. “Why the artist paints, I don’t know. It’s just like why a person preaches, you know. They just do it.”⁷

During the New Deal, Bakoś’s work was frequently included in Federal Art Project-sponsored exhibits at both the state and national levels.

Artist Affiliation: Santa Fe Artist Colony

Harold Edward West

Eliseo Rodriguez

Sheldon Parsons

Helmuth Naumer, Sr.

Paul Valentine Lantz

John A. Jellico

Louie Ewing

Józef Bakoś

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