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Peyton Wright Gallery

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Peyton Wright Gallery

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20th century Modernist works; pre-Columbian ceramics, textiles and gold; New Mexican devotional artifacts

10/18/2026

Allthough known for his larger oils on canvas, Paul Burlin (1886-1969) also experimented with smaller dimensions and various media as in these works, currently in the Peyton Wight hallway:

1st image,from left: Untitled, ink wash and chalk on paper, 1954, 9” x 12”; Untitled Collage, 1969, mixed media on paper, 12 1/4” x 9”

2nd image: Untitled works, ink wash and chalk on paper, 1954, 8 3/4” x 11 1/2”; 8 1/2” x11”

Paul Burlin was born in New York in 1886. Though he had some training at the National Academy of Design, he later dropped out to pursue his studies informally. He visited the Southwest for the first time in 1910, and paintings from this visit were received warmly in New York and shown in a 1911 exhibition. As a result of his early success, he was one of the youngest artists (at twenty-six years of age) to participate in the 1913 Armory Show. There, Burlin’s work was exhibited alongside works by such artists as Picasso, Monet, Cézanne, and Duchamp.

In 1913 Burlin returned to the Southwest to live, where he drew inspiration from the cultures and landscape. Like many modernists of the day, Burlin was fascinated by so-called "primitive" art, particularly the designs and palette of the Native cultures he encountered in New Mexico. In 1917 he met and married Natalie Curtis, a highly-regarded ethnomusicologist specializing in Native American music. Burlin was the first participant in the Armory show to live in New Mexico, and his time there had a profound impact, not only on his own work, but on the development of modernism throughout the Southwest.

Burlin exhibited throughout his career, and as a member of the American Congress of Artists was active in both the Provincetown Artists Colony and the MacDowell Colony in Peterborough, New Hampshire. He was represented by several prestigious New York galleries during his lifetime, including Edith Halpert’s Downtown Gallery and the Grace Borgenicht Gallery. A prominent retrospective of his work was sponsored by the American Federation of the Arts at the Philadelphia Art Alliance and the Whitney Museum in 1962.

10/04/2026

Herbert Bayer (1900-1985)
"Leaning Spiral Tower"
1967/2007
35.5" x 12.5" x 20"
bronze with patina
edition 2/6
Herbert Bayer (1900-1985) was born in Austria, where he apprenticed with the architect and designer Georg Smidthammer, with whom Bayer learned drawing, painting, and architectural drafting. In 1920, Bayer discovered the writings of Kandinsky, as well as Walter Gropius’ 1919 Bauhaus manifesto. Bayer traveled to Weimar to meet Gropius in October of 1921 and was immediately accepted into the Bauhaus. There, he was deeply influenced by the instruction of Kandinsky, Johannes Itten and Paul Klee.

Bayer followed Gropius to America in 1938, and set his breadth of skills to work later that year in designing the landmark Bauhaus 1918-1928 exhibition at the Museum of Modern Art. Bayer flourished in New York as a designer and architect, but it was his meeting with the industrialist Walter Paepcke in 1946 that allowed him to harness his concepts of 'total design' to the postwar boom. Paepcke was developing Aspen as a cultural and intellectual destination, and found in Bayer the perfect collaborator. Bayer was designer, educator and indeed architect for Paepcke's Aspen Institute for Humanistic Studies (later The Aspen Institute), which promulgated the very Bauhaus project to encourage cooperation between art and industry and the role of the arts in society. From 1965 he fulfilled a similar role in advising Robert O. Anderson, chairman of the Atlantic Richfield Company.

In August 2019 The Aspen Institute announced a major donation by Stewart and Lynda Resnick for the creation of the Resnick Center for Herbert Bayer Studies. This will allow the Institute to showcase and exhibit its Bayer works, grow its collection, borrow from major cultural institutions, and create new exhibitions that will educate the public about Bayer’s remarkable legacy. The center opened in the spring of 2022.

09/20/2026

In the west side front room at Peyton Wright Gallery: Art Brenner (1924-2013), "Untitled," 1959, oil on canvas, 50" x 60"

Art Brenner, a prolific painter, sculptor, and scholarly writer, was born in New York City in 1924. Beginning as a painter, his work evolved in a direction that unavoidably led to sculpture. In 1964 he left New York for Paris where he lived and worked for over forty years. He died in Adelaide, Australia in 2013.

Though best known for his sculptural work (and numerous wiritngs on the changing nature of sculpture in society), Brenner was also an astonishingly capable painter. His works created in the 1950s reflect the Abstract Expressionist movement of the time. Although part of that oeuvre, his style is hard to pigeonhole. He clearly has a spatial sensibility to his canvases, but his color is careful, and unflinchingly unique. His works from that time are gestural, with controlled but choppy swaths of color whispering and interrupting each other, creating a vibrant plane of conversation on the canvas. Though they are reminiscent of many other painters of the time, Brenner brought a spatial awareness that was a departure point for his future years and his life’s devotion to sculpture.

09/06/2026

Angus the gallery cat finds a happy spot between the gemoetries of squres and circles in the west weing at Peyton Wright Gallery!

art, from left: John Stephan, “Disc #18,”1970, acrylic on canvas, 80” x 76”
Robert Slutzky, "untitled No. 8", 1978, oil on canvas, 72"x72".

08/30/2026

In the front room, Vance Kirkland's "Roman Memory No. 5" (1961) takes the lead in the new west side hanging at Peyton Wright Gallery gallery. oil, water, gold on Belgian inen, 75" x105".

In the center room is" Cathedral #13",ca. 1966, Leon Berkowitz, oil on canvas, 90" x72" and in the admin area, Robert Slutzky, "untitled No. 8", 1978, oil on canvas, 72"x72".

08/02/2026

Featured in the new west side hanging at Peyton Wright !

from left:

Stanton Macdonald -Wright, “Birth,”
1968
13" x 21"
Framed: 25.75" x 31.75"
watercolor on paper
Signed, dated and titled lower center

John Stephan, “Disc #18.”
1970
80" x 76"
Acrylic on canvas
Signed and dated verso

07/26/2026

Big news for PWG!!

Santa Fe's Peyton Wright Gallery building sold to UNM's Taos art museum --

Harwood Museum of Art of the University of New Mexico will acquire the historic Spiegelberg House at 237 East Palace Avenue in Santa Fe through a remarkable donor-supported gift.

Peyton Wright Gallery will continue to operate in the building during a planned two-year transition period, honoring John Wright Schaefer’s stewardship of this historic space and arts destination.

The future Harwood–Santa Fe will expand the museum’s presence beyond Taos, create new opportunities to share Harwood’s collections, and strengthen connections across Taos, Santa Fe, Albuquerque, and UNM’s fine arts programs.

More details to come…

07/12/2026

Dos Desnudos (Two Women)
1945-46
47.25" x 23"
Framed: 52.5" x 28.5"
oil on masonite
Signed vertical lower left

Exhibition History:

Exposición de Pinturas de Flavio Cabral, foyer of the Palacio de Bellas Artes, Mexico City (October 12 – 22, 1946).
Organized by the Secretaría de Educación Pública via the Dirección General de Educación Estética.
Formal Item #8 in the official 1946 exposition program.

An important mid-20th century painting by the noted California regional artist Flavio Cabral. He was associate of famed Mexican muralist David Alfaro Siqueiros (1896-1977) with whom he worked on various projects. It was Siqueiros who became a mentor to Cabral, and invited him to exhibit at the Palacio de Bellas Artes, Mexico City in 1946, where this piece was included.

Futuristic, other worldly and post-apocalyptic describe this compelling work, created in Cabral's own distinct style known as Spherism, combining Cubism and Surrealism. Under the influence of Diego Rivera, Siqueiros and Salvador Dali, this painting exhibits an intellectual quality, evoking images of a nuclear age and the frightening dynamic of human bonds. As though they are from another dimension, these figures appear as enlightened beings "post nuclear," standing the test of time at the dawn of a new age.
#

07/05/2026

1983
38 1/4" x 29"
Framed: 43 1/2" x 34"
color screenprint on Japanese handmade Mino Kozo Kizuki paper
28/32
signed, dated and numbered lower center

"Ultimately I’m using the painting as a sounding board for the spirit. . . . You can be painting and go into a place where thought stops—where you can just be and it just comes out. . . . I present it as an open situation rather than a closed situation. "
—Brice Marden

Although widely known for his minimalistic drawings and paintings, Nicholas Brice Marden Jr. (October 15, 1938 – August 9, 2023) developed his own distinctive style, incorporating aspects of Lyrical Abstraction, the immediacy of Abstract Expressionism, and the intuitive gesture of calligraphy in his exploration of gesture, line, and color.

Born in Bronxville, New York, Marden attended Florida Southern College from 1957 to 1958 before earning his B.F.A. in 1961 from Boston University School of Fine and Applied Arts. He finished his MFA from the Yale School of Art and Architecture in 1963.

In 1964, his exposure to the art of Jasper Johns—while employed as a guard at the Jewish Museum in New York during an important Johns exhibition— fostered his dedication to geometric formats. Minimalism was then the dominant idiom, and while Marden borrowed its formal rigor and muted palette, he did so to expressive ends.

Long active as a printmaker and draftsman, Marden in the mid-1980s began to experiment with more gestural brushwork and a more calligraphic use of line. Spidery lines sweeping across coloured fields seemed a departure from his earlier concerns, though both bodies of work were united by their richly worked surfaces.

Marden passed away at the age of 84 in Tivoli, New York.

07/01/2026

In Memoriam: Charles Hinman (1932 - 2026)

Hinman, an artist known for his three-dimensional shaped canvases that transcended the tradtional concepts of painting and sculpture, died on May 29 in Raleigh, North Carolina. He was 93.

Hinman first received critical attention in the exhibition "7 New Artists" at the Sidney Janis Gallery in May 1964, where he exhibited flat canvases cut at angles and suspended by cords. Other artists in the exhibition incuded Larry Bell, Robert Irwin, Norman Ives, Robert Slutsky, Robert Whitman, and Arakawa.

Hinman went on to add the third dimension to his shaped canvases while examining the subtle boundary between the picture plane and the space in front of it, as well as playing with the idea of literal versus illusionistic depth.

Usually Hinman began his work by building charcoal drawings of volumetric shapes. Out of the series of drawings, he would select one drawing and turn it into “shop drawings” to determine how the organic shape could be turned into a constructed form, with intricate shape stretchers supporting it. While building the armature, he addressed the level of three-dimensionality of the work. Once the work had been stretched with canvas and given a ground, he then determined colors, often creating more sketches and repainting areas several times.

first photo, from left:

"Deneb" , 1977, 36.5" x 57" x 6"
"La Lande", 1980, 65.25" x 91" x 6"
"Block with a Gesture", 1966 , 22" x 33" x 5.5"

center photo:

"Change of Course", 1980, 50.5" x 77" x 8"
with
Leon Berkowitz(1911 - 1987),"Duality # 14", 1970, oil on canvas, 70” x 30.37"

third photo:

"Pinwheel", 1964, 44.5" x 29" x 14.5"
with
Roland Reiss (1929 - 2020) "Untitled (Red With Cubes)"
ca. 196745" x 40" x 4"

Address

237 E Palace Avenue
Santa Fe, NM
87501

Opening Hours

Monday	9:30am - 4pm
Tuesday	9:30am - 5pm
Wednesday	9:30am - 5pm
Thursday	9:30am - 4pm
Friday	9:30am - 4pm
Saturday	9:30am - 4pm

Telephone

+15059899889

Website

http://peytonwright.com/

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