225 Canyon Road, Santa Fe, NM 87501, Santa Fe NM 87501
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Phone | 800.779.7387
Meyer Gallery is proud to present a collection of special paintings created by the late, master painter, Robert Daughters. This special group spans the artist's entire career, and includes some of the first paintings Robert completed when he moved to NM in 1970, to a few of the final pieces completed shortly before his passing in 2013. It is amazing to see the transformation in his work over this period, as he maintained the highest quality of artistry throughout his ever-evolving styles.
As many of you know, Meyer Gallery had the distinct pleasure to represent Robert for many years. Hosting over twenty one-man shows, the gallery was quite successful in promoting the artist; and these paintings found their way into collections such as yours.
In the gallery's continuing effort to honor and represent Robert Daughters, we employ your help. The gallery has always wanted to curate a museum show for the artist. It would be an honor and privileged to head such an effort. An exhibition of this sort would require access to many of the pieces Meyer Gallery sold over the years. This is where we need your assistance. If possible, please send an image of any Robert Daughters original artwork from your collection to the gallery's email to be considered for the future museum exhibition.
And to our collectors who are downsizing and need to sell their artwork, Meyer Gallery is your best choice for Robert Daughters resale. We continue to maintain brisk sales for the artist's secondary market works. Opening 52 years ago in Park City, and with the Santa Fe gallery celebrating its 30th anniversary in 2017 - a combined 82 years as art specialists - Meyer Gallery is the destination for discerning collectors.
Robert Daughters always knew he wanted to live in New Mexico, he knew it the first time he visited Taos during his honeymoon in 1953. And like those artists who emigrated to the region before him, Robert discovered the beauty and light of the area. It left such an indelible mark on the young artist that he knew one day he would return and live in New Mexico. Settling first in Kansas City and raising a new family, he found work as a partner in a highly successful advertising art studio. After working in the commercial art world for 17 years, the time had come to make a career change. In 1970 his dream came true, he and his family finally made their move to Santa Fe, NM and then to Taos permanently in 1972. There Robert Daughters settled in as a resident artist for the next 22 years. The images featured below represent artwork over a 40 year career and highlight not only the artist's love for painting, but also his ever evolving style as a master painter of the region.
The 1970's saw a variety of different styles emerge out of Robert Daughter's studio. Coming off his days as a commercial/graphic artist in Kansas City, works still included commissions and the occasional illustration job. One in particular for "American Quarter Horse Journal" featured a cutting horse scene set in Amarillo, TX. The piece "Slim's Corral" was part of this series of work. Many of the early paintings from this decade were done in the style of the "Taos Society of Artists", who Robert Daughters so admired. Like those artists before him, many of Robert Daughter's early paintings included Taos Pueblo indians as a regular subject. The Natives were happy to pose for the new artist. In "Taos Pueblo Sentinel", featured above, Robert Daughters captures the indigenous Taos elder set against the beautiful backdrop of his ancient New Mexico home, giving the viewer a glimpse into the Native's unique life.
In the mid 1970's Robert Daughters cofounded a group called the "Taos 6". Like minded, fine young talent of the time, they were a veritable force when it came to capturing the romance of Taos and all the region had to offer. The group consisted of Ron Barsano, Walt Gonske, Ray Vinella, Rod Goebel and Julian Robles. During the years they exhibited - the Summer of 1973 to Spring of 1977 - each artist would paint six works for the exhibit, and sign them "Taos 6". "Eagle Dancer", done during the "Taos 6" era, fills the frame with Robert's keen eye for great color and composition; and it is a rare example of a "Taos 6" work.
A pivotal point came in the late 1970's and early 1980's when Robert Daughters embraced an aesthetic influenced by Post-Impressionist artists, especially Vincent Van Gogh and Èmile Bernard. His style changed to include a technique he referred to as "cloisonnism," in which blocks of jewel-like colors were often outlined in black. This technique lent to Daughters' painting a new simplicity and luminosity, often causing his subjects to vibrate with movement. "Ranchos de Taos" with it's wintered, sage foreground directs the eye inward to the behemoth famous mud structure. It was this change in artistic style that would propel Robert Daughter's career into the stratosphere. The painting "Waterfall", found below, was also done in the early 1980's. In this work, the artist explores hints of abstraction in his composition of simple, color filled shapes to construct a familiar waterfall found in Nambe, NM.
Throughout the 1980's Robert Daughters garnered a lot of attention for his new expressive style of painting; and he was featured in many art publications of the time. "New Mexico Magazine" selected him to be the featured artist for their 1984 calendar. Robert created 13 masterworks for the calendar. All were landscapes of New Mexico during the different seasons of the year. "Backroad to Trampas" (1983) was the painting created for the month of April, and depicts a vista found on the High Road to Taos. Here the artist captures the small village of Las Trampas and the family homesteads of time worn adobe structures.
As the artist's popularity soared and the 1980's waned, Robert Daughters made a conscious decision to use a wider paint brush from the smaller width brushes he used in previous years. This change allowed him to become a much faster painter. Never sacrificing design, color and expression, the tireless artist produced countless paintings that would find themselves in many public and private collections. In the 1990's Meyer Gallery became Robert's sole representative, and maintained this exclusivity for the next twenty years of the artist's life. It was during this period the partnership between the artist and Meyer Gallery blossomed, and annual exhibitions were hosted at the gallery, up until Robert Daughters' last show in 2012.
Robert Daughters spent much of the 1990's dividing his time between Santa Fe, New Mexico, Tucson, AZ and various parts of Old Mexico, specifically the Bahia de Kino Bay area in the state of Sonora. In "Sonoran Giants", done in the late 1990's, the artist paints the glowing desert hues with long, bold deliberate brush strokes, providing warm backlighting on the monumental cacti found throughout the low desert. "Tropical Winds", featured in the artist's book "After the Formative Years", in the section on trees, brings to life a bevy of large palms as they dance in the hot desert wind, giving a sense intrigue and environment.
Stylistically the work didn't change too much in the 2000's. Colors, though vibrant, were limited in many of Robert's later works, and yet they still possessed the strong contrasting relationship that defined the artist. This restricted palette would find it's way in many of Robert's final paintings. Pictured above, "Chamisa Valley" (2004), is a study of chartreuse green and lime yellow flora, set against the blues and greens of the distant mountains. Chamisa was first painted by the artist upon moving to Santa Fe in the early 70's. He immediately fell in love with the plants organic movement, it's abstract lines and dynamic color. One of Robert's final paintings, "Fall Chamisa" (2011) captures this iconic bush set against fiery spires of mullein reaching upward.
By the time the artist celebrated his 70th birthday, the new millennium was just around the corner. A big move came in the mid 2000's when Robert Daughters left his beloved New Mexico, and relocated with his wife Sandra to her hometown of Rogers, AR. Slowing down a bit, he continued to paint the high desert landscape from his studio in Arkansas, using the reference material he acquired over the years.
Though no longer physically living in the "Land of Enchantment", Robert's heart never let go of the region. "Pueblo View, Winter" was one of Robert Daughter's final paintings, and was completed while residing in Arkansas.
Do you own a Robert Daughters painting? Would you like to know when your piece was done and what it is worth? If so, contact a gallery representative for a free evaluation. Remember, Meyer Gallery is your number one source when it comes to selling and buying artwork by the late Robert Daughters.