|This biography from the Archives of AskART:|
|Born in Brooklyn, New York, Joseph Imhof was a self-taught lithographer
for Currier and Ives in New York City and then became an important
documentary painter of Indian life in New Mexico. He is best
known for a series of sixty paintings focused on the importance of corn
in the culture of the Pueblo Indians.|
In 1891, he went to Europe
for four years of formal training and apprenticed to artists in Paris,
Brussels, Antwerp, and Munich. In Antwerp, he met and sketched
Buffalo Bill and his Indians in the "Wild West Show," which was making
a grand tour of Europe. Ironically, it was this experience with Buffalo
Bill in Europe that set the direction of his career rather than his
exposure to European artists. However, lithography methods he
learned in Europe had a life-long influence on his work.
to the United States, he studied the Iroquois Indians in New York state
and in Canada. Intending to return to Europe, he went East again
but got sidetracked from these travels in New York City, where he spent
ten years working on photography and color printing inventions.
These innovations financed his early painting career.
he married Sarah Stuart, and they returned to Europe several times and
then in 1905 went to the Southwest for the first time to record
ceremonies of Pueblo Indians. He built a studio in Albuquerque in 1906
and traveled throughout the region and then lived in New York before
settling in Taos in 1929. He built his studio on the edge of the
reservation facing the Sacred Mountain behind the Pueblo.
highly private person, he was referred to by long-time resident and his
twenty-year neighbor Mabel Dodge Luhan only as "the Grand Old Man of
the Pueblos" (Samuels 244).
He collected many Indian artifacts
and recorded ethnological information with his paintbrush. He had
the first lithography press in Taos, making prints that are of
ethnological value, and he also taught lithography.
Peggy and Harold Samuels, The Illustrated Encyclopedia of Artists of the American West
|Biography from Mark Sublette Medicine Man Gallery Santa FeTucson:|
|Joseph Imhoff was born in Brooklyn, New York in 1871. His first exposure to art was at age six when his godfather gifted him with a box of watercolors. Upon graduation, his father refused him further education unless he became a priest. Rejecting his father's wishes, he started teaching himself lithography and was hired by Currier & Ives. He eventually earned enough money from this job to buy a bookstore. In 1991 he eventually quit his job and sold the bookstore to pursue a formal art education in Europe. Traveling and painting for four years in Paris, Brussels, Antwerp and Munich he apprenticed with several artists.|
But perhaps the most important experience he had in Europe was to meet Buffalo Bill Cody on board the ship and join him in Antwerp to spend time sketching and painting various members of the "Wild West Show". This experience set in place a style of painting for the rest of his life which focused on ethnographic and anthropological data rather than artistic expression. He documented the religious ceremonies of Pueblo Indians in large, rather simplified oils. He also learned new techniques for lithography which had a long-term influence on his artwork.
When he returned to New York, he rented a studio in Flatbush and began to study the Iroquois Indians in New York and Canada. He spent the next ten years painting and improving his lithography, photography and color printing innovations - which financed his early painting career. He also freelanced for Allen and Ginter, painting his Indian Head Series for insertion on cards in boxes of cigarettes.
In 1897 Joseph married Sarah Ann Elizabeth Russell, and they traveled to Europe several times until 1905 when they visited the Southwest for the first time to record the ceremonies of the Pueblo Indians. Joseph and built a studio in Albuquerque in 1906, and spent much time in the next few years traveling around the region.
In 1929 Joseph and Sarah moved to Taos permanently and built their new home facing the sacred mountain behind the Taos Pueblo. Their neighbor for some twenty years, Mabel Dodge Lujan, was known to refer to him as, "The Grand Old Man of the Pueblos". He would ask native models to live in his home for a time before he painted them. He felt he needed to know the person's soul that the eyes revealed in order to paint an accurate likeness. He collected many Indian artifacts and also had the first lithography press in Taos, which he used to make ethnographic prints and teach his techniques of recording the region's history. His series of paintings called Kivas and Corn which he gifted to the University of New Mexico was his most famous work. The Koshare Indian Museum also houses one of the largest collections of his paintings.
Joseph Imhof died in 1955 leaving an important legacy of the American Southwest. His wife Sarah in later years said of her husband, "...a gentle, dignified man who loathed the publicity and the limelight that other artists seemed to seek; he avoided publicity at all times..."
1. The Illustrated Encyclopedia of Artists of the American West, by Peggy and Harold Samuels
2. Artist of the Pueblos, by Nancy Hopkins Reily and Lucille Enix Koshare Indian Museum
|** If you discover credit omissions or have additional information to add, please let us know at registrar@AskART.com.|
Joseph Imhoff is also mentioned in these AskART essays:
Taos Pre 1940