|This biography from the Archives of AskART:|
|Born Topeka, Aug. 6, 1897; died Albuquerque, NM, 1966. Painter, specialized in realist, figure & landscapes. Lithographer. Muralist, Teacher. At age 16 worked for G.M. Stone in Topeka before entering the Art Institute of Chicago in 1916. Served as an army private in World War I. Studied at the Art Students League of New York beginning in 1919 where he was a pupil of K.H. Miller, George Bridgeman, Maurice Stern, & Eugene Speicher. Spent his summers with Andrew Dasburg in Woodstock, NY. From 1921-23 Adams studied in France & Italy painting landscapes that he exhibited in Topeka. Moved to Taos, NM in 1924 and became the youngest & last member of the Taos Society of Artists in 1926. Began teaching at the Taos Field School of Art in 1929 then moved to Albuquerque in 1937 where he was artist-in-residence at the University of New Mexico until his retirement in 1963. In 1937 he painted “Rural Free Delivery” in the Goodland Post Office. He also painted murals in Washington, DC, the University of New Mexico, & at Kansas State College, Manhattan. Primarily known for his scenes of Spanish culture and for his portraits.|
Denver Art Museum, honorable mention for graphic arts, 1930; Philadelphia Print Club, honorable mention for lithography, 1932; Clark prize & honorable mention Corcoran Biennial, 1935; Second Prize, Midwestern Artists Exhibition, 1938; NY Worlds Fair, 1st prize, 1940.
Denver Art Museum; Colorado Springs Fine Arts Center; Los Angeles County Museum of Art; Whitney Museum of American Art; Dallas Museum of Fine Arts; Mulvane Art Museum; Honolulu Academy of Arts; Sandzén Memorial Art Gallery; Topeka Public Library; Anschutz Collection; Spencer Museum of Art.
Taos Society of Artists; National Academy of Design (Association 1938); Prairie Print Makers.
Susan Craig, "Biographical Dictionary of Kansas Artists (active before 1945)"
Festival of Kansas Arts and Crafts. Catalog: Arts and Crafts of Kansas: an Exhibition held in Lawrence, Feb. 18-22, 1948 in the Community Building. Lawrence: World Co., 1948; American Art Annual. New York: American Federation of Arts, 1898-1947 22, 25; Reinbach, Edna, comp. “Kansas Art and Artists”, in Collections of the Kansas State Historical Society. v. 17, 1928. p. 571-585., Edna, comp. “Kansas Art and Artists”, in Collections of the Kansas State Historical Society. v. 17, 1928. p. 571-585.; Who’s Who in American Art. New York: American Federation of Arts, 1936- v.1=1936-37 v.3= 1941-42 v.2=1938-39 v.4=1940-47. 1, 2, 3, 4; Sain, Newlin, Gertrude Dix (Development of Art in Kansas. Typed Manuscript, 1951), Gertrude Dix (Development of Art in Kansas. Typed Manuscript, 1951); Dawdy, Doris Ostrander. Artists of the American West: A Biographical Dictionary. Chicago: Swallow Press, 1974. Wiebe, Joanna K. “Kansans Cared About their New Deal Art”, in Wichita Eagle Beacon, May 21, 1972. p.1E & 7E-----. “Local Legends Live in Art”, in Wichita Eagle Beacon, May 22, 1972. p.1A & 3A-----. “Age Enhances Fort Scott Mural”, in Wichita Eagle Beacon, May 23, 1972. p.1A & 8A-----. “Halstead Legend Perpetuated”, in Wichita Eagle Beacon, May 24, 1972. p.1A & 16A -----. “Scenics, Murals and Lithographs Included in Kansas New Deal Art”, in Wichita Eagle Beacon, May 25, 1972. p.15A.; WKDC (Kansas Artists, compiled by Woman’s Kansas Day Club. January 29, 1964. Typed Manuscript.); Art in Federal Buildings: an illustrated record of the Treasury Department’s New Program in Painting and Sculpture. Volume 1: Mural Design, 1934-36. Washington, DC: Art in Federal Buildings Inc., 1936; Wash (Baldinger, Wallace S. comp. Catalogue of the Permanent Collection of Paintings, Prints, Drawings and Sculptures and The Free Public Library Loan Collection of Casts in Mulvane Art Museum and other Buildings, Washburn College. Coke, Van Deren. Kenneth M. Adams: A Retrospective Exhibition. (Albuquerque: University of NM Press, 1964); Adams Retrospective Catalog (Albuquerque: University of NM Press, 1972); Midwestern Artists’ Exhibition (Kansas City: Kansas City Art Institute, 1920-1942 Mines, Cynthia. For the Sake of Art: The Story of an Art Movement in Kansas. s.l. Mines, 1979.) 1926, 1938; Clark, Eliot. History of the National Academy of Design, 1825-1953. New York: Columbia University Press, 1954.; Shipp, Steve. American Art Colonies, 1850-1930: a Historical Guide to America’s Original Art Colonies and Their Artists. Westport, CT: Greenwood Press, 1996.; Porter, Dean A, Teresa Hayes Ebie, Suzan Campbell. Taos Artists and Their Patrons, 1898-1950. South Bend, IN: Snite Museum of Art, 1999., Dean A, Teresa Hayes Ebie, Suzan Campbell. Taos Artists and Their Patrons, 1898-1950. South Bend, IN: Snite Museum of Art, 1999.
|This and over 1,750 other biographies can be found in Biographical Dictionary of Kansas Artists (active before 1945) compiled by Susan V. Craig, Art & Architecture Librarian at University of Kansas.|
|Biography from Altermann Galleries and Auctioneers, I:|
|Taos realist figure and landscape painter, muralist, lithographer, teacher|
At 16, Adams studied with G.M. Stone in Topeka, Kansas and then entered the Art Institute of Chicago in
1916. After serving in the Army as a private in World War I, he
studied at the Art Students League beginning 1919, the pupil of K H Miller, Bridgman,
Sterne, and Speicher. Summers were with Dasburg in
Woodstock. From 1921 to 1923, Adams studied in France and Italy,
painting landscapes he exhibited in Topeka.
In 1924, Adams followed Dasburg’s advice, settling in Taos with an
introduction to Ufer. He became the youngest and last member of
the Taos Society of Artists, but he was more than a duplicate of the
original members’ emphasis on the romantic Indian. Adams was
contemporary realist, influenced by Dasburg and working in the
tradition of Rivera and Orozco.
Technically conservative, Adams was nevertheless concerned with the
daily lives of his agrarian neighbors. In 1929, Adams began
teaching at the U of New Mexico in Taos. The dominant subjects in his
work became the Spanish Americans and landscapes. In 1938, he moved to
Albuquerque, New Mexico, where his work by 1950 was devoted to nudes,
portraits, and still life, while his summer subjects in Taos were
flowers, the Indians, and the rural Spanish Americans.
Peggy and Harold Samuels, Encyclopedia of Artists of the American West
|Biography from Robert L. Parsons Fine Art:|
|Kenneth Adams (1897-1966)|
Kenneth Adams was the last member to be added to the Taos Society of Artists before it disbanded in 1927, only a year after his induction. The artist stood as the meeting point between the old generation of Taos painters and the young, emerging modernists.
Originally from Topeka, Kansas, he moved to New York City where he studied at the Art Students’ League in New York, where he befriended his instructor, Andrew Dasburg. Adams’ connection to Dasburg, and later Walter Ufer, ultimately led to his relocation to Northern New Mexico.
Adams’ subject matter included landscapes, portraits, nudes, and florals — most with a decidedly more modern interpretation than his peers in Taos were doing.
During WWII, Adams moved to Albuquerque where he taught at the University of New Mexico and Sandia School. Recognition for his artistic contribution came near the end of his life, when he was elected an academician of the National Academy of Design in 1961. He was also honored with a retrospective of his work at the University of New Mexico in 1964, just two years before his passing.
|Biography from Mark Sublette Medicine Man Gallery Santa FeTucson:|
|Kenneth Miller Adams was born in Topeka, Kansas in 1897. Studying
with George Melville Stone in Topeka, Adams went on to study at the Art Institute
of Chicago and the Art Students League in New York before traveling to
Italy and France for further instruction. He summered in
Woodstock, NY with Andrew Dasburg, painting the landscape and
developing his skills as a modernist.|
In 1924, Adams moved to
Taos to be with Dasburg and Walter Ufer. He would be the last and
youngest member of the Taos Society of Artists, and perhaps the most
dedicated modernist of them all. He was also one of the most
emotionally connected to the Taos Indians, teaching at the University
of New Mexico, Taos.
In 1938 he moved to Albuquerque during the winters, where he worked on
nudes, portraits and still life, returning to Taos in the summer to
focus on Indian subjects. He taught at the University of New
Mexico in Albuquerque, as well, eventually earning a tenured
professorship and a membership to the National Academy of Design.
He died in 1966.
|Biography from William A. Karges Fine Art - Carmel:|
|Kenneth Adams is best remembered as the last and youngest member of the Taos society of artists. Without roots in the 19th century classicism, Adams was more free to explore the contemporary methods of representation. |
Following studies at the Art Institute of Chicago and the Art Students League in New York, Adams, strongly influenced by Cezanne’s Cubist principles, would influence the New Mexico art scene for decades.
After a dozen years in Taos, Adams moved to Albuquerque in 1938, where he taught at the University of New Mexico for the next 25 years. A testament to his vision and recognition outside the Southwest was his election to the National Academy of Design in New York in 1961.
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