203 FINE ART


1335 Gusdorf Rd. Suite i
Taos, NM  87571
[ 575 ]  751 - 1262  -  email: art@203fineart.com
               









Original work by John DePuy


Selected works from our current exhibition
"The Last of the Moderns"

As well as other works in our inventory


Images are not to scale.




"Rosebud Pass, Utah", oil on canvas- 1982
46 inches x 42 inches





"Thunder River Falls", oil on canvas- 1999
48 inches x 34 inches





"Rio Grande Gorge", oil on canvas- 2014
 
28 inches x 34 inches





"Cedar Mesa, Utah", oil on canvas- 2015
 
30 inches x 35 inches





"Triangle Arch, Utah", oil on canvas- 1989
27 inches x 38 inches





"Ute Peak New Mexico", oil on canvas- 2011
 
26 inches x 36 inches





"Cloud over Mesa", oil on canvas- 1999
 
24 inches x 33 inches




"Caynon Image", oil on canvas- 2005
 
31 inches x 36 inches





"Lost Canyon Series", oil on canvas- 2000
 
34 inches x 27 inches





"Monoliths #2", oil on canvas- 1958
47 inches x 47 inches
 




"Untitled" oil on canvas - 1969
46 inches x 46 inches
 





"Canyon Fire", oil on canvas - 1984
  12" H x 14" W





"Wall Morocco", oil on canvas- 2013
20" H x 16" W







  "Sun Path", Mixed media drawing on paper
  30" H x 22" W






"Wall Morocco", oil on canvas- 2013
12" H x 16" W








    "Juniper with Tinajas", Mixed media drawing on paper
  22" H x 30" W





"Red Cliffs", Mixed media drawing on paper
  30" H x 22" W







   "Rock Formations", Mixed media drawing on paper
  22" H x 30" W








  "Grand Canyon", Mixed media drawing on paper
  40" H x 26" W








"Cedar Mesa", Mixed media drawing on paper
  22" H x 30" W







"River Flow", Mixed media drawing on paper
  22" H x 30" W


                   
John DePuy

When DePuy first moved to Taos, still under the influence of his teacher, Hans Hoffmann, he painted nonobjectively. Over time, Hoffmann's influence receded, but his advice to paint from nature remained. For DePuy, the influence on art in New Mexico was "mainly the land" and (as with Louis Ribak) the inspiration Pueblo Indians provided in their connection with the land. In DePuy's work, the purely surface qualities of the land are often eclipsed by the land's sheer power. Subtle graduations of color on walls or in the sky or on limitless plains form a shifting, lively backdrop for suns which shimmer and rivers which slide away and mesas which stand dark. DePuy wrote, "this land speaks of another time sense than our Western-European lineal time." The land DePuy began painting by the mid-1950's exists within spatial time, where moments do not proceed to any destination but repeat endlessly in the regular cycle of day, years, millennia, always returning, circular rather than linear.

Quote taken from David Witt's "Taos Moderns" book.