In the fall of 1898 two young artists, Bert Phillips and Ernest L.
Bluraenschein, driving a camp wagon on a sketching trip from Denver
to Mexico City, stopped at the Taos pueblo, and, fascinated by the
paintable landscape and the colorful Indians, they sold their team and
remained to begin the Taos Art Colony. True, a number of painters
had been through the area before—the Kern brothers who came with
the U. S. Army in 1846; Sauerwine, painter of Indians; Remington,
famous for his Montana cowboys and scenes from army life; but
Blumenschein and Phillips, by their exhibitions throughout the coun-
try, popularized the region. Blumenschein spent the winters in New
York, but Phillips became a ranger in the Carson National Forest, and
his paintings mirror his intimate knowledge of the country.

Other painters followed—Joseph Henry Sharp, Irving Couse from
New York, Oscar Berninghouse from St. Louis, Walter Ufer from
Chicago. In 1914 the Taos group organized the Taos Society of
Artists which held regular spring and autumn exhibits in art centers
like New York, Boston, and Philadelphia. Fame of the Taos colony
spread to the Old World, and from Russia came Nicolai Feschin and
Leon Gaspar, from Austria Joseph Fleck, and from England came
John Young-Hunter, the portrait painter, and Dorothy Brett.

In 1923 a group called the New Mexico Painters was formed
which combined both the Taos and the Santa Fe colonies, with Mr.
Blumenschein as secretary. It included Victor Higgins and Walter
Ufer of Taos, and Frank Applegate, William P. Henderson, Jozef
Bakos and B. J. O. Nordfelt of Santa Fe. This organization sent paint-
ings on circuits of the entire country.

In 1925 Burt Harwood settled in Taos and erected an art gallery
which housed the paintings and art objects he had collected in years of
travel in Europe. At his death the gallery was left to the town as an
art and community center, and named the Harwood Foundation.
Around this central building smaller studios were erected for use by
visiting artists. In 1930 the Harwood Foundation was taken over
by the University of New Mexico for its summer art school, and in
1932 it was named the Taos School of Art under the direction of Emil
Bisttram who came from the Roerich Museum in New York.

Santa Fe followed Taos as an art center, through the efforts of
George Bellows, Robert Henri, and Albert Growl, who lived there in
the second decade of the century. They were followed by Warren E.
Rollins, Sheldon Parsons, William P. Henderson, Gustave Baumann,
Gerald Cassidy, Louise Crow, Kenneth Chapman, Carlos Vierra, Frank
Applegate, and Olive Rush. In 1917, Henri and Bellows, with the
assistance of Edgar L. Hewett, established the Santa Fe Art Museum