E. Martin Hennings 1886–1956

Hennings enjoyed printmaking, and in particular, one-ofa-kind prints known as monotypes. For such a print, the artist applies oil paint or printer's ink using brushes, rollers, palette knife, perhaps even fingers or rags, to create an image directly onto a metal or glass plate. When the plate is run through a press, this one-of-a-kind image is transferred onto the paper.

Hennings “painted the men, women, and children of all three cultures of New Mexico, but the Indians of the Taos Pueblo were the heroic figures of his finest paintings. . . . figures of beauty, serenity, and majesty.”

–

Patricia Janis Broder, Taos: A Painter’s Dream

Joseph Fleck 1892–1977

Autumn Landscape c. 1940 Oil on canvas 25 x 30 inches Signed lower left

Musician c. 1932 Oil on canvas on Masonite 21 1/2 x 26 inches Signed lower left ike the adopted Westerner he was, he stuck to his guns by distilling a number of influences into his unique vision of the American Southwest. Consequently, Joseph A. Fleck created a body of work that testifies to his distinctive place in the Taos art colony and American art in general.”

– Michael R. Grauer, A Fine Sense of Poetry: The Life and Art of Joseph Amadeus Fleck