Santa fe
395 creative works found
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Chunky Watermelon Salsa Bon Appétit July 1996. This cool salsa is the ideal accompaniment for grilled shrimp. Makes about 3 1/2 cups. 1 lime / 2 cups 1/2-inch pieces seeded watermelon / 1 cup 1/2-inch pieces seeded peeled cucumber / 1/4 cup thinly sliced green onions / 2 tablespoons minced fresh cilantro / 2 teaspoons minced seeded jalapeño chili / 1 teaspoon sugar Using small sharp knife, cut peel and white pith from lime. Cut lime into 1/4-inch pieces. Place in medium bowl. Add all remaining ingredients to same bowl. Season with salt and pepper. Toss to blend. Cover and refrigerate at least 30 minutes. (Can be prepared 2 hours ahead. Keep refrigerated.) Serve chilled. Per 1/2-cup serving: calories, 24; total fat, 0.5g; saturated fat, 0; cholesterol, 0 Epicurious.com © CondéNet, Inc. All rights reserved.
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Portrait of Georgia O’Keeffe. Oil on Canvas / American Artist. Georgia O’Keeffe was raised in Wisconsin, educated in Chicago and Virginia, taught, painted, and lived on the east coast until her early sixties when she moved to Abiquiu, & Santa Fe, New Mexico. Close to one hundred when she died in 1986, living alone and painting in scenery that inspired her famous flowers in closeup with strong sexuality, voluptuous lilies and poppies, stark desert landscapes and animal skeletons. She worked in charcoal, water color, and finally oils, and worked large. I’m not sure her story is known well outside the states. She was photographed, courted, and married (1924) by famed 1920’s photographer Alfred Stieglitz who adored her, left his wife and family for her, and made her more famous than he was. She too, was madly in love with him. His black and white photographs of O’Keeffe filled Stieglitz’s famed “291” gallery in New York and caused a sensation with portraits focused on her beautiful bone structure and striking looks, and spectacular nudity. He took over 300 portraits of her from 1918 to 1937. Stieglitz may have been in love, but smart enough of a businessman to cause O’Keeffe’s work to skyrocket in price, averaging $100,000 a painting, monumental for a living artist and a woman in that time. What he did for her career lasted, interest waned some but revived and her work is priceless now. Every girl painter can use a Stieglitz, few get one. Stieglitz died in 1946 and she moved permanently to New Mexico three years later after cataloguing his work and papers. She was 59, began a new life in a landscape she claimed as her own. “God said I may have that mountain,” she’d written, “if I paint it enough.” So she did. / I painted this from one of Alfred Stieglitz’s famous photographs of Georgia O’Keeffe. / When you do portraits, you start to hear conversations from that time, get a sense of the thinking of the subject, smells and impressions wander through you or assault you inescapably. It’s a fascinating and somewhat dangerous occupation because when you put down the brush and turn away you wonder where the hell you’ve been and question your sanity. I’ve come to accept it as just what happens and there it is. One cannot help but see Stieglitz’s fascination with O’Keeffe’s profound physical symmetry. It bothered me. I thought it annoyed Georgia, too, that he was making more of it than in truth was there. Certainly a thoughtfully bright, introspective & solid woman. But he did not capture the O’Keeffe who stood in the desert in thunderstorms alone in the middle of the night to draw the electricity in the air into her being, which she was notorious for doing. Or the O’Keeffe who lived alone on her Ghost Ranch, and drove in her Model A Ford recklessly to plateaus and mountains of New Mexico to soak in the wilderness. DH Lawrence, Ansel Adams, the Lindberghs were visitors. / It’s not the last portrait I’ll do of her, but I wanted to see more in her than Stieglitz’s precision, no matter how beautiful that is to see. / I think he was incredibly kind and thoughtful about this woman’s life, and helped her reach a financial independence undreamt of for an artist of her time and sex. Stieglitz said of the first drawings of Georgia O’Keeffe that he saw: “Finally, a woman on paper!” He admired her, and he loved her. I can’t blame him for thinking her perfect. I’m just not so sure he saw the savage in Georgia. Other US photographers who did some earlier radical work in b/w, nature, and nudes you might want to visit: Ansel Adams. Brett, Edward, and Cole Weston. Edna St Vincent Millay wrote: “My candle burns at both ends; / It will not last the night; / But ah, my foes, and oh, my friends— / It gives a lovely light!” / Which, published in 1918 became an anthem to end constraints on overwatched Victorian girls. A wild, free life… edged with death. / The Hawks Perch
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And so the series begins, The Doors of Santa Fe / I simply loved New Mexico and the city of Santa Fe is of no exception…..around every curve and corner, there were photo-opps and one thing that really caught my eye was how the Adobe architecture had all these really old doors….crafted 100s of years ago. The doors, while not always straight and often far from it, provided a nice contrast in color, design, and history to the buildings they often adorned. Thoughts most welcomed! / —John
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St. Francis of Assisi in Santa Fe Sitting in the center of the town square in Santa Fe, New Mexico stands the St. Francis of Assisi Church. Built between the years of 1869-1886, it sits on an earlier site of a church built in 1626. This was a REALLY hard shotto pull off as the town center square is filled with people so I had to act quickly. I fired off 3 brackets handheld for the HDR and metered at the bricks on teh church…hoping this was going to work….I think it did. Thoughts most welcomed! / —John http://www.redbubble.com/products/configure/2720872
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Aspens on Lake Peak, Pecos Wilderness, New Mexico, USA.
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Image by photographer Glennis Siverson, www.glennisphotos.com. Captured in Santa Fe, New Mexico.
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Image by photographer Glennis Siverson, www.glennisphotos.com. Reflection of St. Catherine’s Cathedral in Santa Fe, New Mexico.
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The church at the old mission of Chimayo in northern New Mexico. Also known as El Sanctuario de Chimayo. Cloudy evening in the Spring just before a rainshower, the spot betwen the two steeples is a pigeon in flight.
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Bonanza Creek Movie ranch is a working cattle ranch 8 miles from Santa Fe, New Mexico, that is also used as a movie set. Several scenes in the movie “3:10 to Yuma” with Russell Crowe were filmed here. Canon XTi 28mm (Canon EF 28-300mm f/3.5-5.6 IS USM) Processed in Photomatix Pro / 4 exposures: 1/6 sec, 1/4 sec, 1/8 sec, 1/10 sec @ f/18 ISO 100
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Acrylic on gallery wrapped stretched canvas. 14” x 11” Red Bubble featured. / Owl Artwork featured. 591 views as of November 6, 2009
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Acrylic on gallery wrapped stretched canvas. 30” x 24”. Home Page featured. October 2009 246 Views on November 30
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Acrylic on back stapled stretched canvas. 20” x 16” 144 views as of 12/04/09
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Acrylic on back stapled stretched canvas. 14” x 11” . Kokopelli was one of the earliest spirit figures depicted in ancient petroglyphs in the American Southwest.
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This painting was inspired by ancient images of buffalo and cattle that can be found in caves and canyons across the North American Southwest and in Europe. The painting is acrylic on gallery wrapped stretched canvas and is 24”w x 18”h. 501 views as of 11/18/09
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Acrylic on gallery wrapped stretched canvas. 20”w x 16”h.
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Acrylic on gallery wrapped stretched canvas. 24”w x18”h. Red Bubble featured. / Fine Art featured. / Painted Nature featured. 502 viewings on 11/20/09
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/ / CHALLENGE WIN in the “Windows & Doors” Group!!!!!! / FEATURED in the “Cottage Style ” Group / I took this photo in Santa Fe, New Mexico USA, after a lovely rain. / 154 views
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Acrylic on gallery wrapped stretched canvas. Inspired by ancient petroglyphs in the North American Southwest. 20”w x 16”h.
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Acrylic on gallery wrapped stretched canvas. 16”w x 20”h. 114 views 12/03/09 The original painting was sold in 2009
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Acrylic on back stapled stretched canvas. 11”w x 14”h. Kokopelli is a favorite image in the art galleries and tourist spots of Santa Fe and Taos New Mexico. Actually, he was a very serious guy to the very earliest natives of New Mexico a long long time before it was ever called New Mexico. This painting was inspired by ancient petroglyphs in the North American Southwest. The figure depicted is Kokopelli, a very early spirit figure who played the flute and was believed to be the patron of music and of good luck with crops and with the ladies.
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Acrylic on gallery wrapped stretched canvas. 24” w x 18” h.
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Loretto Chapel Stairs is the 4th painting in a series called “Americana” When the Loretto Chapel was completed in 1878, there was no way to access the choir loft twenty-two feet above. Legend says that to find a solution to the seating problem, the Sisters of the Chapel made a novena to St. Joseph, the patron saint of carpenters. On the ninth and final day of prayer, a man appeared at the Chapel with a donkey and a toolbox looking for work. Months later, the elegant circular staircase was completed, and the carpenter disappeared without pay or thanks. After searching for the man (an ad even ran in the local newspaper) and finding no trace of him, some concluded that he was St. Joseph himself, having come in answer to the sisters’ prayers. The staircase has two 360 degree turns and no visible means of support. Also, it is said that the staircase was built without nails – only wooden pegs. The construction is still a mystery to experts today. The original painting is 22×30” and painted on 140 lb Arches watercolor paper – available by contacting the artist. Giclee reproductions are available in several sizes.
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152 views on 12/01/09 This painting is acrylic on gallery wrapped stretched canvas. It is 11” w x 14” h. Kokopelli was one of the earliest spirit figures represented in the petroglyphs and cave art of the very early Native Americans - the very first Americans. He was believed to bring success with crops and also to bring good luck with the ladies. He was usually depicted playing a flute and was considered to be the patron of music. He is often depicted with a hump on his back - sometimes this is considered to be a deformity and sometimes a sack that he carries on his back.
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This painting is acrylic on back-stapled stretched canvas. It is 11”w x 14”h. It depicts one little person and two little owl-people
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