Turn in the Road, Old Ledoux St.

Ward Lockwood, artist

1894–1963

Turn in the Road, Old Ledoux St., 1928

Where object was made: United States

Material/technique: canvas; oil

Dimensions:
Canvas/Support (Height x Width x Depth): 45.7 x 61 cm
Canvas/Support (Height x Width x Depth): 18 x 24 in

Credit line: Gift from the Ward and Clyde Lockwood Collection

Accession number: 1972.0330

Not on display

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Label texts

The southwest is the great playground of the White American.
-D.H. Lawrence, “Just Back from the Snake
Dance,” 1924
Beginning in the mid- to late-19th century, health seekers, writers, and artists have flocked to the Taos Valley of New Mexico. The brilliant landscape, with its mountains, meadows, and adobes is populated by Native Americans, descendants of Spanish settlers, and Anglo Americans. The diverse populace provided inspiration for E. Irving Couse and other founding members of the Taos Society of Artists, who often sentimentalized and romanticized their portrayals of Pueblo culture. Later arrivals to the art colony, such as Andrew Dasburg and Ward Lockwood, found greater fascination in the topography and climate. Lockwood professed to adore Taos, “not because it is the home of the Indians. That is incidental. It is the landscape that sets Taos apart from and above other haunts of the artist.”

Exhibition Label:
"This Land," Mar-2014, Kate Meyer
The southwest is the great playground of the White American.
-D.H. Lawrence, “Just Back from the Snake
Dance,” 1924
Beginning in the mid- to late-19th century, health seekers, writers, and artists have flocked to the Taos Valley of New Mexico. The brilliant landscape, with its mountains, meadows, and adobes is populated by Native Americans, descendants of Spanish settlers, and Anglo Americans. The diverse populace provided inspiration for E. Irving Couse and other founding members of the Taos Society of Artists, who often sentimentalized and romanticized their portrayals of Pueblo culture. Later arrivals to the art colony, such as Andrew Dasburg and Ward Lockwood, found greater fascination in the topography and climate. Lockwood professed to adore Taos, “not because it is the home of the Indians. That is incidental. It is the landscape that sets Taos apart from and above other haunts of the artist.”