Manitou Galleries

Wednesday, June 7, 5:00 pm – 7:30 pm

Manitou Galleries

123 West Palace Avenue, Santa Fe NM 87501


| Prices Vary


Phone | (505) 982-8859

Two Shows at The Manitou Galleries’ Plaza Location

William Haskell and Bryan Haynes

Friday, July 7, 5:00 – 7:30

123 West Palace Avenue

William Haskell

Roger Hayden Johnson captures the rich colors of sunlight at dawn and dusk in his architectural

landscapes and seascapes. He travels the back roads of the Southwest (New Mexico, Arizona, Colorado)

in search of old and indigenous architectural structures. He also loves to explore fishing harbors

throughout Europe for small wooden boats. Then in the few short minutes right after sunrise or the

fleeting moments before sundown, he takes photos in his favorite light — that spectacular long-shadowed

light of intense, rich color and cool, deep shadow. It's this special light that brings a sense of stillness and

tranquility to Johnson's paintings.

Although the photographs rarely capture the intensity of color and emotion Johnson experiences as he

stands in the golden light of sunrise and sunset, the artist reinvents the beauty of the moment in his

studio. On canvas he rearranges buildings, eliminates clutter, refines the composition, and adjusts the

contrast. With skill developed over decades of painting, he reproduces the color, energy, and excitement

of the scene that almost took his breath away in the instant when the shutter snapped.

After moving to Colorado in 1984, Johnson began traveling into the mountains and valleys of northern

New Mexico, where he fell in love with the earth-colored thick walls of old adobe buildings. With small

Spanish-speaking communities clustered around churches, the area reminded him of Europe. And when

the sun slanted low across these solid, age-graced structures, he was hooked.

Bryan Haynes

Historical figures, Native Americans and local characters inhabit the sweeping views of

the New Regionalist paintings by Bryan Haynes. The valleys and mesas, bends and curves

of the New Mexico landscape seem to shape the artists inspirations - sculpted in current


Since graduating of the Art Center College of Design in 1983 his artwork has been

represented in New York, San Francisco, St. Louis, Kansas City, and Santa Fe. Recent

corporate and institutional commissions include murals and large scale paintings for; The

Kauffman Foundation in Kansas City, The Missouri Botanical Garden’s permanent collection,

The Westward Expansion Memorial Museum at the Arch, Novus International Inc., and

the Danforth Plant Science Center.  Additional patrons include Disney, Estee Lauder, Warner

Bros., Toblerone – Switzerland, Universal Studios, IBM, Nike, Sony Music Corp., and

Anhueser Busch.

Awards include - The Society of Illustrators-New York awards, Print Magazine

Awards, Communication Arts Awards, and Graphis-Switzerland.  “Haynes paintings feel

familiar. His heroic history works have been likened to the WPA style of the 1930s as well as

to that of American Dreamers Norman Rockwell and Maxfield Parrish. Haynes (fairly) claims

himself a descendent of Thomas Hart Benton and John Steuart Curry by calling his work

Neo-regionalism. His paintings build upon the early-20th century Regionalism movement by

including images, events and some of the artistic innovations of the past 100 years. The

physiognomy of his figures calls to mind the strong, swaying bodies found in Benton’s

Cradling Wheat (1938) and Curry’s The Mississippi (1935) at the St. Louis Art Museum.  And

like the figures in Benton and Curry’s paintings, each man and woman found in Haynes’

paintings is made noble in the face of an adversity that smacks of adventure.

Haynes’ paintings should not be dismissed as mere imitation. The Regionalism movement

that was at its height in the 1930s was also backward looking. Idealized agricultural scenes

did not incorporate the most recent industrial agricultural trends, but focused on traditional,

already outdated, methods of working the land. Haynes’ paintings capture the mood and

atmosphere of 1930s Regionalists, but disregard realities that clash with the aesthetic to

emerge as a modern offshoot.”