The Puebloan people built most of their structures to have complex units that contained lots of rooms. The buildings originally had very few windows and no doors. To gain entry into each unit they used ladders that would reach to the roofs where there were holes. These holes were the entry points in and out of the units. Through the center of the community runs a stream called Red Willow Creek. The creek served as a source for water from everything to bathing to cooking and even used for religious activities. This land has seen a lot of turmoil over the centuries. In 1680, an attack was planned onsite by the Indians against the Spanish and their settlements. They killed more then 400 Spaniards and 1,000 settlers. Unfortunately the church that was onsite was burned and destroyed in the chaos. The site of the original church served as a cemetery that also included US war veterans. This real life settlement still have approximately 150 residents that maintain residency there. The land it sits on is quite large at 99,000 acres. Today the pueblo has doors that enables access into each unit. One of the youngest buildings on property is the San Geronimo Church that was built in 1850. The church was also designated as a National Historic Landmark. It serves as an active church within the community. Today the community has opened its doors to the public for an up close look at how the Taos Indians once lived and still lives. The village offers events such as pow wows and feast days. In the late winter and early spring the pueblo is closed for about 10 weeks. It was also designated in 1992 as a UNESCO Heritage Site.

The cemetery and the site of the original church building.

Website

More Info

Video

Designated as a National Historic Landmark on October 9, 1960, this ancient pueblo belong to a group of Tiwa-speaking Native Americans. The tribe was known as the Puebloan people. The pueblo is made up of entirely adobe material and it appears to of been built between 1000 A.D. and 1450 A.D. This community is one of the longest continually occupied communities in the United States.

Taos Pueblo

Admin

Each of these historical buildings of Taos, New Mexico are standing reminders of the Taos art colony, US Southwestern architecture and expansion, and Native American history.

Leon Schulman Gaspard was born in Vitebsk, Belarus on March 2, 1882. His father was a traveling rug merchant while his mother was pianist. Gaspard would travel with his father throughout the Siberian Steppes, and on the way, he would sketch the native people and natural areas he would encounter. Gaspard's mother later on taught him how to play the violin. Both of his parents tried to get him be a musician, but Gaspard decided to pursue his dreams of studying art. At 15, Gaspard started studding art throughout Vitebsk, but hw was later sent by his parents to study in Paris at the Académie Julian. While he was studying in France, Gaspard took an apprenticeship under Adolphe Bouguereau, an artist famous for his nude figures. He would prepare Bouguereau's canvases and brushed and run errands for him. Gaspard eventually developed his Asiatic color and scenes, realism and French Impressionist technique. Gaspard's parents died while he was in Paris, and his allowance diminished. In order to survive, Gaspard began selling his paintings and drawings in the streets of Paris. In 1909, Gaspard married American ballerina, Evelyn Adell. Soon, he became an up-incoming artist and began showing his work through Europe. However, all of that quickly changed when WWI began. Gaspard was drafted as a pilot for the French Air Corps was wounded when his plane was shot down. After leaving the hospital in 1916, Gaspard and Evelyn left for New York where he continued to showcasing his artwork in newspapers and at art exhibits. However, Gaspard could keep up with his career in New York due to his declining health. Gaspard's doctor advised him to move to the west to better his health. In 1917, Gaspard and Evelyn eventually visited Taos and Santa Fe in Mexico, and after finding artistic success in Taos, the couple moved to Taos. Gaspard took inspiration from the Native Americans and the landscape in Taos and applied them to his paintings, but unlike his contemporaries in Taos, he would still paint and sketch towns and people in Belarus and other far away places. In 1921, Gaspard and Evelyn took a trip to Asia where he was inspired by the nature, people, and architecture, which would later become subjects in his works. Once Gaspard and Evelyn returned back to Taos from their trip in Asia, they started working on their house. The two-story house's construction started in 1926 and ended in 1931. Gaspard made plans to combine two distinct designs for the house. For the basic foundation, the house exudes a Byzantine-Pueblo style through its adobe base, thick walls, flat roof and ceilings of vigas and latias. The house also incorporated Asian architectural features, such as pointed arch windows. Inside, the house was decorated with textiles, fabrics, and furniture that Gaspard and Evelyn bought on their trip to Europe in 1932. The house's exterior was originally light pink, but over time, it darkened to red. In the backyard, there is a small barn where Gaspard would keep livestock.Later on his life, Gaspard continued to stay at Taos and create art. He became friends with other artists and literary figures in Taos, such as Mabel Dodge Luhan, D.H. Lawerence, and Nicolai Fechin. In 1956, Evelyn died from complications to injuries she had sustained from a horse riding accident, which left Gaspard in despair. Eventually, Gaspard married artist, Dora Kaminsky. The couple traveled throughout the United States, Europe, and Asia and continued to create art. In 1964, Gaspard passed away at the age of 82. Posthumously, Gaspard's work gained massive popularity, and to this day, numerous galleries around the world continue to display and sell his work. As for the house, local museums attempted to preserve the house's integrity by making general repairs to the structure and procure Gaspard's belongings and displaying them in the house. The furniture, textiles, and other pieces of decor that Gaspard had collected were at one time on display for the public to see. The museums even tried to restore the house's original light pink color but failed. In 1978, the house was listed in the National Register for Historic Places for its distinct architectural design and its historical association with Leon Gaspard. Currently, the house is a private residence.

Built between 1926-1931, the Leon Gaspard House stands as an artistically unique structure that represents the life and work of Belarusian artist, Leon Gaspard (1882-1964). Throughout his career, Gaspard was known for painting and sketching subjects that depict indigenous cultures, small townscapes, and folkloric traditions in Taos, New Mexico, Asia, Belarus, and Russia. Gaspard found artistic success in the Taos art colony, and essentially, he moved to Taos with his first wife, Evelyn. While constructing the house, Gaspard made plans to combine the Byzantine-Pueblo style with Asian architectural features Inside, Gaspard decorated the house with European furniture and textiles. Once completed, the house's exterior was light pink, but over time, the color darkened to red. In 1978, the house was listed in the National Register for Historic Places for its distinct architectural design and its historical association with Leon Gaspard. After Gaspard's death, there were some attempts by local museums to procure and preserve Gaspard's items in the house. Currently, the house is a private residence. 

Leon Gaspard House 

Ernest Martin Hennings was born on February 5, 1888 in Penns Grove, New Jersey. Hennings' parents were German immigrants from Schleswig-Holstein, Germany. When Hennings was two years-old, the family moved from Penns Grove to Chicago. From his adolescence, Hennings began taking an interest in painting and sculpting. From 1901-1904, Hennings went to Art Institute of Chicago, and after graduating, he continued to study at the institute under the guidance of Dutch-American painter, John Vanderpool. Afterwards, Hennings worked in commercial art, and later, he began to win prizes at art contests and exhibits. In 1912, Hennings won second-place at a painting competition in Ecole des Beaux-Arts in Paris, France. After the competition, he traveled to Munich, Germany and enrolled at the Academy of Fine Arts. He later returned to Chicago and worked and continued to work as a commercial artist. Eventually, he joined the Palette and Chisel Academy of Fine Arts in 1916, and during his time in Chicago, he gain recognition as an artist with many of his mural paintings showcased in several buildings.In 1917, Hennings first went to Taos, New Mexico under the sponsorship of art patron and former mayor of Chicago, Carson Harrison. Harrison and his friend, Oscar Mayer sponsored young prominent artists to travel to Taos. The duo were fascinated with Taos and its art colony while hunting around the area. Throughout 1917, Hennings spent painting in Taos. Most of his works are primarily portraits, and his work captured the essence of the Native Americans in the area. Also, Hennings would paint outdoors in order to feel the environments and landscapes he would recreate on canvas. He soon returned to Chicago and picked up commercial art again. In 1921, he decided to permanently move to Taos, and he established his studio nearby the property of this house. He quickly gained recognition around the area, and in 1923, he was nominated by painters, Bert Phillips and Oscar E. Berninghaus as a member of the Taos Society of Artists alongside with his former classmates Victor Higgins and Walter Ufer. The society was an organization that influenced numerous artists to move to Taos and spread the word of the Taos art colony across the United States.In 1926, Hennings married store buyer, Helen Otte, and they had one daughter together in 1930, who was also named Helen. The Hennings eventually lived in an apartment at the Harwood Foundation, which was a center for artists. In 1936, Hennings purchased his home and its accompanying studio for $3,000. The house was originally built and owned by lawyer Floyd W. Beutler, and the property served as his home for him and his family. Then, the house was owned by artist, Linley Tonkin before it was purchased by Hennings. The one-acre property includes the main house, a studio, a large pool, and a building with four guest units; All of the buildings' designs are mixed with the Spanish Pueblo Revival and the Southwestern Vernacular.Later, Hennings traveled throughout the Southwest, and he would paint various subjects, such as Native Americans, horses, and landscapes.He also dabbled in other forms of art, such as lithographs and etchings. During the Great Depression, Hennings continued to receive commission from his artwork through his travels and paintings despite the server crash in the art market. For 30 years, Hennings continued to live at the property until his death in 1956. Instead of being buried in Taos, his remains were sent to Chicago and were buried there. Helen Otte Hennings continued to live in the house until 1979 when she sold the property and moved to Chicago to be near her daughter. After Helen left the house, there were some renovations made to the house, and in 1983, there was a fire on the second floor, which destroyed the original flooring and window sashes. The house was later purchased by Georges T. Van de Kerckhove, who resorted the house back to its historic appearance. At one point, Kerckhove transformed the house into a bed and breakfast, which he named The Willows Inn. Now, the property stands as a historic district, and it was listed on the National Register of Historic Places in 1990 for both its historical association with E. Martin Hennings and its well-preserved architectural design.

In 1936, the E. Martin Hennings House and Studio Historic District was purchased by prominent Taos painter, E. Martin Hennings (1888-1956), and the property served as his home and studio for 30 years. Hennings was known for his portrait paintings of Native Americans and landscapes of Taos, New Mexico and Southwest U.S. He was a member of the Taos Society of Artists, an organization that spread the Taos art colony and influenced many artists to move to Taos. Hennings' one-acre property includes several contributing buildings, such as the main house, a studio, and an adjacent building compromised of four guest units. Hennings lived at the property until his death in 1956, and his wife, Helen lived here until 1979 where she sold the property. At one point, the property was converted into a bed and breakfast, which was called The Willows Inn. In 1990, the property and its contributing building were listed on the National Register of Historic Places as a historic district for its well-preserved architecture design and its historical association with E. Martin Hennings.

E. Martin Hennings House and Studio Historic District

Eanger Irving Course (1866-1936) and Joesph Henry Sharps (1859-1953) were both part of the six founders of the Taos Society of Artists. Founded in 1915, the Taos Society of Artists was the first professional association of the US Southwest. Including Course and Sharp, the association's founders are Ernest L. Blumenschein, Bert Geer Philips, Oscar Edmund Berninghaus, Buck Dunton, and Ernest Martin Hennings. Compromised of Taos artists, the association's main goal was for putting Taos on the map and for the association's artists to travel across the nation to showcase their art. The association's artists are heavily inspired by the Native Americans and indigenous people in Taos, the Taos landscapes and mountain ranges, the architecture and imagery of Taos, and the multiple cultures that make up Taos. The Society's artwork of the US Southwest gained critical acclaim, and nationwide press showcased the Society's traveling exhibitions. By the time the association disbanded in 1927, there were over 20 members of the association, and to this day, the members' artwork are still popular and carry the diverse and ethnic background of Taos.Course and Irving's work and memberships of Society brought them close. Even though their work featured Taos elements such as Native American portraits and imagery, their styles and specialties were different. Course is notably one of the famous artists of the Society, and he gained a reputation of being one of the best Native American painters in the United States. In fact, Course served as the Society's first president. Most of Couse’s paintings depict Native men and women performing "characteristic" activities, such as craft-making or hunting. For example, Course's canvas might show a Taos Native American men wearing Sioux leggings, flanked by Acoma pots, and weaving a Navajo blanket. Throughout his art career, Course won many art awards, and his work was hung at multiple art exhibits around the United States. Sharp, on the other hand, was the oldest member of the Society, and he was often said to be the "spiritual leader" of the association. When Sharp arrived to Taos on commission by Harper's Weekly in 1893, Sharp was immediately fascinated with Native Americans, and he started his career in the US Southwest, painting the area's Native Americans as anthropological records. Sharp painted various watercolor landscapes and still-life portraits, but like Course, he painted Native American portraits. Sharp focused more on capturing Native American figures in local settings, such as the downtown plaza. Also, he captured Native Americans in more intimate settings, such as their village homes. Sharp's painting more emphasized Native American cultural traditions and customs, such as dancing rituals and celebrations.As for the property, Course and his family bought the house portion in 1910 from parish priest Gabriel Ussel. Before Course purchased the house, Ussel operated the property as a boy's boarding school, and before that, it was owned by James Quinn, who served as a scout captain under Kit Carson. While Course owned the house, he built a wing to the house, which served as his studio. Also, his wife, Virginia developed and planted a noteworthy garden on the property. The house served as the summer residence for Course and his family where he would produce some of his work. Later, the Course family moved to Taos permanently. In 1909, Sharp purchased the Luna Family Chapel, which was a former Penitente church. The adobe chapel is located near Course's home, and it served as his studio during the summer. Later, in 1912, Sharp and his wife, Addie permanently moved to Taos, and he built a two-story studio near the chapel. In 2001, the Course Foundation was established as a non-profit organization to preserve the Couse's property and Sharp's studios. In 2005, the site was listed on the National Register of Historic Places in 2005, and currently, the site serves as a museum that houses Course and Sharp's work and belongings. Visitors can take tours around the premises to view the numerous exhibits that make up Course's property and Sharp's studios, Virginia Course's garden, Course's son, Kibbey's machine shop and library, and Course's granddaughter's, Elizabeth's playhouse.

This site is compromised of Eanger Irving Course's home and studio and Joesph Henry Sharp's two studios. Course and Sharp were two of the six founding members of the Taos Society for Artists, an association that showcased the work and talent of Taos artists. Like other members of the association, Course and Sharp were heavily inspired by the Native Americans and landscapes of Taos. Both were famous for their portraits of Native American men and women hunting, crafting, and performing traditional dances and rituals. In 1910, Course bought the house located on the site, and he later added his studio where he produced some of his finest work. In 1909, Sharp purchased a former Penitente church near Course's property called the Luna Family Chapel. In addition to using the church one of his studios, Sharp built another studio near the church. In 2005, the Course-Sharp Historic Site was listed on the National Register of Historic Places, and currently, the site serves as a museum that houses Course and Sharp's artwork and belongings. 

Course-Sharp Historic Site

Born on February 26, 1879 in Buffalo, New York, Mabel Ganson was the daughter of Charles Ganson, a wealthy banker and Sarah Cook.Throughout her earlier years, Mabel grew up among Buffalo's social elite, and her parents, who lived off an inheritance, lavishly provided for her. Yet, the Ganson family was also conservative and wanted to groom Mabel for marriage. The conservative mindset along with her family's emotional and spiritual neglect of Mabel clashed with her forward-thinking attitude and liberal ideals of women's societal roles. In 1900, Mabel married local sportsman, Karl Evans, but he died two years later in a hunting accident, leaving behind Mabel and their son, John.In 1904, Mabel married wealthy architect, Dr. Edwin Dodge, and the couple along with John moved to Florence, Italy. While in Florence, Mabel (now Dodge) began tor event herself by hosting and entertaining famous American in her salon. Mabel soon met American writer, Gertrude Stein and her brother, Leo, who was a an art critic and collector. Stein introduced her to the possibility of constant self-regeneration through art. In 1912, Mabel, along with John moved from Florence to New York City due to feeling uninspired with Florence and the fact her and Edwin became estranged; she eventually divorced from him in 1916. Mabel began with her involvement with the art scene through hosting small gatherings in her New York apartment. Some of the guests included journalist John Reed, anarchist political activist, Emma Goldman, and novelist Neith Boyce. Soon, Mabel Dodge became a journalist for the Hearst organization, a an American mass media and business information conglomerate based in New York. In 1916, Mabel married her third husband, artist, Maurice Sterne.Maurice and Mabel moved to Taos, New Mexico, and Mabel began to take interest in the Native Americans in Taos and their artwork. The marriage between the two was an extremely unhappy one, resulting in Maurice leaving Taos and the divorcing in 1921. Mabel befriended and married Taos local, Tony Luhan. In 1922, with Tony Luhan's supervision Mabel's 12-acre property in Taos was converted into the Mabel Dodge Luhan House. Some people often referred to the house as the "Big House" due to its 20+ rooms. The Pueblo-style, three-storyhouse includes earth-tone adobe walls, glossy tilework, and intricate designs inspired by Taos artist, Ralph Myers. Mabel (now surnamed Dodge Luhan). One room in particular is called the Rainbow Room due to the walls being painted in vibrant colors. Mabel utilized the house as not only her living quarters, but also a gathering place for her friends. Dodge Luhan's guests included artists and writers, such as D.H. Lawerence, Aldous Huxley, Georgia O' Keefe, Ansel Adams, and Willa Cather. Dodge Luhan introduced her guests to Taos artwork, which highlighted the Native American and pre-Colombian craftsman showcased in the area. Mabel Dodge Luhan took the lead in promoting the Southwest as Utopia; offering her literary and artistic friends an antidote to civilization. She succeeded in putting Taos on the map by appealing to the aesthetic, emotional and spiritual needs of her friends. Luhan often described herself as a patron and savior for the arts and humanities. In 1935, Mabel Doge Luhan released her memoir, Winter in Taos about her life in Taos, her failed marriages, and her love for the arts.In 1954, Mabel moved out of the Big House and built a much smaller house a half-mile from the Big House. At one point, British actor Dennis Hopper bought and owned the house. In 1962, Mabel Dodge Luhan died in 1962 and was buried at the In 1979, the Mabel Dodge Luhan House was listed on the National Register for Historic Places for its Pueblo architectural style and its connection with Dodge Luhan and her contributions to the Taos art colony. Later, the house became a hotel where guests can stay in one of the rooms named after Dodge Luhan's friends; examples include Cather (Willa Cather) and O'Keefe (Georgia O'Keefe). Also, guests can dine, attend to workshops in the conference rooms, and buy merchandise in the gift shop.

Built in 1922, Mabel Dodge Luhan House, which is sometimes referred to as the "Big House"  is a standing representation of art and humanities patron and writer,  Mabel Dodge Luhan (1879-1962). Madel Dodge is known for her contributions to the Taos art colony and she had a significant presence in the 20th-century literary and art scene with her affiliation with the Taos art colony. At the Big House, Dodge Luhan would host literary gatherings and invited prominent literary and art figures to stay at the house, such as D.H. Lawerence, Aldous Huxley, Georgia O' Keefe, Ansel Adams, and Willa Cather. At these gatherings, she would introduce them to the Native American and pre-Colombian artwork done in Taos, resulting in Taos being put on the map and its art influencing people nationwide. In 1978, the Mabel Dodge Luhan House was listed in the National Register for Historic Places for its Pueblo architectural style and its connection to Mabel Dodge Luhan and her contributions to the Taos art colony. Currently, the house is now a hotel equipped with rooms named after famous literary and artistic figures and Luhan's friends, a conference room for workshops, and dining for guests.

Mabel Dodge Luhan House and Hotel ("Big House")

Christopher Houston Carson was born on Christmas Eve in 1809 in Madison County, Kentucky. Carson, the sixth of 10 children, was given the nickname "Kit" by his father because it best suited him.. In 1812, the family moved to Missouri where he started to hunt and learn basic survival skills from his father and older brothers. Even though Carson never learned to read or write, he was competent in the fundamentals of being a frontiersman. in 1824, Carson became an apprentice to saddle maker, David Workman, and later in 1826, he ran away with a group of fur trappers traveling to the Santa Fe Trail. While he was with the trappers, Carson would tend to their livestock and learn the trade of fur trappers. Eventually, he arrived to Taos, New Mexico and began working various odd jobs, such as a translator, a cook, and a trapper. Carson was fluent in English, Spanish, French, and over a dozen Native American dialects. Carson essentially began his life as a mountain man when he accompanied fellow fur trapper, Ewing Young for over a decade. The pair along with other fur trappers traveled through the Rocky Mountains, California, and Missouri.Eventually, Carson fell in love with an Arapaho woman, Waanibe, but in order to win her hand in marriage, he had to duel a French fur trapper who was also smitten with her. Carson barely survived and won the duel, and he and Waanibe married in 1936. The couple had a daughter together, but Waanibe died after suffering complications from the birth of their second child. Later, Carson married a Cheyenne woman, Making-Out-Road, but shortly afterwards, she left Carson to go back to her family. Later in 1842, while in Taos, Carson met 14-year old Maria Josefa Jaramillo Carson, a girl from an aristocratic and influential family in Taos; the two married in 1843, and later, they went on to have eight children.While traveling through Missouri, Carson ran into John C. Frémont, a U.S. explorer and senator from California. Frémont offered Carson a job as a guide for multiple expeditions between in 1842-1845. The duo traveled through various states, such as Oregon, Wyoming, and California. During these expeditions, Frémont would record their travels through his diary, and those entries catapulted him into fame. Numerous dime novels and books were written about Carson's ambitious nature and skills as an mountain man and published around the world. Many people wanted to hire Carson as a scout, a hunter, and/or a Native American hunter because of his quick thinking, frontier experience and knowledge of Native American culture.Between the first and second expedition in 1843, Carson and Josefa bought their principle house in Taos. Built in 1825, the house exhibits a Spanish Colonial design, and the house is constructed in a U-shape with a central courtyard. If Carson was not on an adventurous expedition with Frémont or working as a courier, a scout, or a hunter during the Mexican War, he would return home to Josefa and his children. There were some times where Carson and his family would be at the house for extensive periods of time, such as Carson traveling to work as ranch hand between 1851-1854 and when Carson was stationed as a Union officer at Colorado's Fort Garland between 1866-1867.Later on in his life, Carson was appointed as an agent for the Office of Indian Affairs for the northern New Mexico Territory; his jobs was to be a bridge between the Native Americans in various settlements in Northern New Mexico and the government. When the Civil War broke out, Carson entered into the army and sided with the Union. Carosn was later appointed the lieutenant colonel of the New Mexico Volunteer Infantry. Later in 1864, Carson was assigned to transport and relocate 8,000 Navajo Native Americans from Fort Canby to Fort Summer in New Mexico after they surrendered from a battle. Carson led the group on the 300 mile journey, which had been historically dubbed "The Long Walk." In 1865, Carson was given a commission as brigadier general and noted for gallantry and distinguished service. Eventually, he left the army and worked the rest of his life as a rancher. In 1868, the Carson family moved to Colorado, and Josefa and Carson both died shorty afterwards. Josefa died from complications from giving birth to her eight child, and months later, Carson passed at the age of 58 from an abdominal aortic aneurysm. Carson's famous last words were, "Goodbye, friends. Adios, compadres."Afterwards, in 1952, the Carson House was acquired by Taos's Bent Masonic Lodge #42, and later, the house was converted into a museum with the mission to not only preserve Carson's personal items, but also his integrity and legacy. In 1966, the house was listed in the National Register for Historical Places for its historical connection with Carson. Today, operated by the Kit Carson Memorial Fund, the museum contains Carson and his family's belongings and artwork on displayed for the public to see. The museum also has a shop where visitors can purchase books about Carson and his life as well as jewelry.

The Kit Carson House and Museum shares artifacts and exhibits that interpret the life and times of one of the most celebrated frontiersmen in U.S. history, Kit Carson (1809-1868). Early in his life, Carson worked as a fur trapper, and eventually, he served as a guide for U.S. explorer and officer in the Corps of Topographical Engineers, John C. Frémont for multiple expeditions. During the Mexican-American War, Carson was a scout and courier, and later, he was appointed as an agent for the Office of Indian Affairs for the northern New Mexico Territory. When the Civil War broke out, Carson sided with the Union army and was promoted as a lieutenant colonel for the New Mexico Volunteer Infantry. In 1864, Carson led approximately 8,000 Native American people from Fort Canby to Fort Sumner, New Mexico, which has been historically dubbed "The Long Walk." Along with his third wife, Josefa, Carson bought the Spanish Colonial-style house after they married in 1843. The house remained as Carson and his family's principal home until 1868 after they moved to Colorado. The house was listed in the National Register for Historic Places for its historical association with Carson. Today, the house is owned by Taos's Bent Masonic Lodge #42 and operated by the Kit Carson Memorial Foundation. The house is now a museum dedicated to preserving the livelihood and integrity of Kit Carson 

Kit Carson House and Museum 

<div>&nbsp; &nbsp;When General Stephen Watts Kearny marched into the territory the would become New Mexico in 1846 he met little resistance from the local Government and quickly established a temporary military government for the occupation. This gave him the power to appoint local leaders to administrate certain areas. Not long after this he left New Mexico to capture more territory in California. Left to their own devices the territorial official place in charge were allowing the soldiers to take advantage of the local population of Mexicans and Pueblos. Some of the crimes committed include stealing food, supplies, sexual harassment and the refusal to recognize land grants issued by the Mexican Government. There were even fears that restrictions would be placed on the Catholic Church. As tensions grew so did the risk of revolt.</div><div> </div><div>&nbsp; &nbsp;On January 19th 1847 a large mob of Mexicans and Pueblos were led by Pablo Montoya and Tomás Romero respectively. The first stop made by this mob was the home of the local Governor Charles Bent. When they arrived they broke in and shot him in the face with three arrows, but he managed to survive for a short time until he was tracked down again and scalped. The revolt the spread to the rest of the town primarily targeting Americans and their homes as well as those who were accused of associating with them. The next day the revolt spread out side of the city northward to local farms and trading posts where more men and women were killed if they were unable to flee.&nbsp;</div><div> </div><div>&nbsp; &nbsp;Having heard reports of the revolt in Taos Sterling Price, the military governor of New Mexico, immediately gather 300 of his men and marched towards the town. On his way to Taos he encountered a force of 1500 insurrectionist and on January 24 the "Battle of Cañada" was fought. With his superior fire power Price quickly routed the enemy who then retreated. Another short engagement took place on January 29th at Embudo Pass. Once again Price quickly routed the insurrectionist and they fled to Taos where they fortified a local church. It was here were the main body of the revolt made their last stand. Price laid siege to the church February 3rd. Over the next two days it was shelled on and off by Price's artillery and his men even tried to light it on fire. When the wall were finally breached on the 5th American troops stormed in and a vicious melee ensued. After the dust had settled only 10 Americans had died compared to the approximately 150 lost by the insurrectionists. The remaining 400 were captured and tried for treason or murdered in their cells.&nbsp;</div>

During the middle of the Mexican American War the governor of New Mexico surrenders to U.S. forces without a fight. Although many citizens were indifferent to the exchange some feared that they would not be treated the same under American rule. An attempt to expel the U.S. followed but was quickly crushed by the occupying military. What was left of the revolt continued as a Guerrilla unit until July. 

The Taos Revolt

Ernest Blumenschein was born in Pittsburgh in 1874 and was raised in Dayton, Ohio after his mother died when he was four. He initially went to the Cincinnati School of Music to study violin, but he switched to art after attending an art class. He moved to New York City in 1892 and studied at the Art Students League. To support himself, Blumenschein worked as a violinist for the New York Symphony. Then, he studied at the Académie Julian in Paris in 1894 where he met fellow artist, Bert Phillips. He was back in New York City by 1896 where illustrated for various periodicals, such as Harper’s, Scribner’s and McClure’s and for well-known authors like Jack London and Stephen Crane.In 1898, McClure’s sent him west and as part of that journey, he and Phillips headed southwest from Denver with Mexico as their destination. With a wagon, team of two horses, and art supplies, they broke a wheel in New Mexico. Blumenschein headed to the nearest town, which happened to be Taos, to get the wheel fixed. While there, he became enamored with the new artistic subject matter, in the form of landscapes and people, that surrounded him. The town was relatively inaccessible, the nearest telephone line was 25 miles away, it had no electricity or running water, and most of the residents spoke Spanish. Despite all this, he spent the next three months in Taos painting, sketching and laying the foundation for the Taos Art Colony prior to returning to New York while Phillips decided to stay.Blumenschein then continued his studies in Paris, returning in 1899 and again from 1902 to 1909. While in Paris he met and married fellow artist and jewelry designer, Mary Shepard Greene. The two returned to New York City in 1909, and Blumenschein began spending his summers in Taos as Mary was reluctant to leave the conveniences of the city. In 1914, he and five other Taos artists co-founded the Taos Society of Artists in order to spread the works of its members outside the Southwest and to convince other artists to join them. In both regards, the society was successful as their art and artists received national acclaim and inspired other art societies in Santa Fe, New Mexico and Tucson, Arizona.The Blumenscheins permanently moved to Taos in 1919 and settled into the home of Taos artist, Herbert "Buck" Dunton, which would eventually become their home. The eleven-room, single story adobe structure was most likely built in stages with the oldest section from the early 1800s. The Spanish style pueblo home that would go on to become a museum that memorializes Blumenschein’s life also features a central courtyard and low wall that separates it from the street.Blumenschein’s work was first described as post-impressionism and later as modernist with abstract representation. He was a prolific painter, as were other members of the Taos Society of Artists, who produced works of the local landscape and peoples, to include numerous Native Americans. Of his artistic motivations, he once said, “I can’t explain why I paint and draw. It is as necessary for me to do as for an apple tree to produce fruit. Just a job I love. But a good many bad apples came off my tree – and were often destroyed.” Blumenschein was known for painting over works he did not like.Blumenschein lived in the house until his death in 1960. It was then donated to the Kit Carson Memorial Foundation (or Historic Museums) in 1962 by Blumenschein's daughter, Helen. Helen was also an artist and took much inspiration from her father who taught her how to paint. The house was once used as an apartment building at one time. It was converted into a historic house and museum by Taos Historic Museums, which still owns and operates the property. It is now furnished as it might have been when the Blumenschein family occupied it with family possessions, artwork, and European and Spanish colonial style antiques. It is also used as a gallery to display works from members of the Taos Society of Artists and other local artists.

The Ernest L. Blumenschein House and Museum commemorates the life and art of Ernest Blumenschein, his wife Mary, their daughter, Helen, and members of the Taos Society of Artists. A classically trained artist known for paintings of Native Americans and American southwest, Blumenschein first visited Taos in 1898, quickly realized the artistic potential of the area and people and fell in love with what D.H. Lawrence referred to as “The peculiar ‘otherness’ of Taos.” In 1914, Blumenschein and five other Taos artists formed the "Taos Six" and founded the Taos Society of Artists, an organization that helped develop the Taos art colony and inspired other artists to migrate to Taos. In 1919, Blumenschein acquired this house, and he lived here until his death in 1960. Helen donated the house and its belongings to the Taos community in 1962, and later, in 1965, the house was converted into a museum. Also, the house was designated as a National Historic Landmark in 1965, and in 1966, the house was listed in the National Register for Historic Places.

Ernest L. Blumenschein House and Museum

Prior to its acquisition by the Harwood family, the property was owned by New Mexican pioneer, Smith H. Simpson (1833-1916). He widely traveled throughout the western of the United States, and eventually, he enlisted in the U.S. Army in New Orleans. Simpson served with disctintion during the Ute War in 1855, and he was promoted to the rank of sergeant. After the war, he traveled to Taos, New Mexico, and he was discharged from the army in 1859. He settled in Taos where he befriended fellow fur trappers and entrepreneurs. At one point, Simpson served as a clerk for American frontiersman, Kit Carson during the military campaign against the Ute Indians. In 1861, Simpson purchased the first portion if the property from Rosa Lorentina y Trujillo, and it served as his principle home. Two years later, he married Josefa Váldes, a young socialite from the a well-to-do family in Taos. The couple had seven children, but two died during their infancies. Due to Native American depredations, Simpson returned to the military and served his final tour from 1864-1866. Later on, Simpson engaged in several ranching and farming ventures, and he served a term in the 18th New Mexico Territorial Legislative Assembly. After Josefa's death in 1908, Simpson deeded the property to his surviving five children and grandchildren, and in 1916, Simpson passed away.Simpson's children sold the property to Burrit and Elizabeth Harwood in 1916. The Harwoods were heavily involved with the Taos art colony and the Taos Society for Artists, an organization that helped put Taos, New Mexico on the map and spread the word about artwork from Taos. Paintings and other pieces of artwork created by artists in Taos mostly utilized Taos landscape and Native Americans as inspiration. Before they purchased property, the Harwoods were in Paris, France with Burrit studying painting in a French university, but they were forced to return to the United States due to the outbreak of WWI. The Harwoods wanted a place where they can further pursue their artistic endeavors, and they were to convinced to move to Taos after New Mexican artist, Ernest L. Blumenschein told them about the Taos art colony. After Burrit's death in 1923, Elizabeth wanted to convert the property into an art institution where talented people could live and work in an atmosphere conducive to creativity. The same year, Elizabeth and member of the Taos business and artist community founded the Harwood Foundation. Elizabeth's partners in the non-profit organization included New Mexican artists, such as Bert Geer Phillips and Victor Higgins. Elizabeth and her partners envisioned for the Harwood Foundation to have a library, a cultural center, and an art center where local artists could showcase their artwork.Between 1929-1937, the University of New Mexico partnered with the foundation to further aid local artists, craftsmen, writers, and poets and develop the property. By 1935, Elizabeth used all of her financial resources to keep the foundation alive, and she eventually deeded the property to the university of New Mexico for a monthly income. Elizabeth lived at the property until her death in 1938. Afterwards, the university's ownership was transferred. Between 1937-1940, the present-day library and auditorium at the property were built with W.P.A and a Carnegie Foundation grant. In addition, art patroness and humanitarian, Mabel Dodge Luhan donated volumes of books to the library and various Hispanic and Native American artifacts. For some years, the University of New Mexico's Department of Fine Arts conducted a summer school in which the students and faculty lived at the property, but due to financial hardships and faulty wiring and plumbing, the program was discontinued. The University of New Mexico had applied for an Economic Development Administration grant, which was needed to refurbish the physical plant of the Foundation. Plans had been made to survey the educational needs and desires of the Taos community and to use the results in determining the role of the Harwood Foundation for future use.In 1976, the complex was added to the National Register of Historic Places. In 1998, the property became the Harwood Museum of Art when its library was moved to a separate location. Currently, the museum houses several exhibits showcasing Native American and Hispanic artwork created by local artists in the area. One notable exhibit on display is dedicated to New Mexican painter, Agnes Martin (1912-2004). Originally born in Canada, Martin mostly pained in an abstract expressionism, and she was awarded a National Medal of Arts from the National Endowment of the Arts in 1968. Martin's artwork is mostly comprised of biomorphic paintings with subdued colors, and her inspiration came from the landscape and people she had encountered during her time living in Taos, New Mexico. Originally moving from Canada to Taos under grant from 1955-1957, Martin was so encapsulated with Taos that she moved to Taos and lived in that area until her death in 2004. In addition to the museum, visitors can attend the gift shop where they can purchase items relating to the museum and items made by local artists and craftsmen.

This complex of Adobe structures has been home to the Harwood Museum of Art since 1998. The museum traces its roots to 1923 when Elizabeth Harwood and Taos artists and business leaders established a non-profit foundation that helped to promote and showcase Taos artists and their work. Harwood and her partners acquired the adobe structures here in the years that followed, and the Harwood Foundation created a place where local artists could work in an artistic environment. From 1929-1937, the University of New Mexico partnered with the Harwood Foundation to support Taos, and the university built the present-day library and auditorium within the property in the late 1930s. Elizabeth Harwood resided at the property until her death in 1939. In 1976, this complex was listed on the National Register of Historic Places for its architectural significance and its connection to the history and culture of Taos, New Mexico. In 1998, the property was converted into the Harwood Museum of Art. The museum displays various art exhibits that commemorates Native American and Hispanic artwork created by local artists. One of the most notable exhibits at the museum is dedicated to the life and work of New Mexican painter, Agnes Martin (1912-2004).

Harwood Museum of Art (Harwood Foundation)

Thomas Paul "Doc" Martin was born in 1864 in Shippensburg, Pennsylvania to Joab and Louis Martin. Martin later earned his M.D. at the College of Physicians and Surgeons in Baltimore, Maryland in 1887. Later, he interned at various hospitals in Pennsylvania. After completing his internships, Martin and his wife and batik artist, Helen moved to Taos, New Mexico around the 1890s. Martin became one of the first American citizens of Taos. He became Taos's primary physician and surgeon for the county where he would make house calls to the surrounding pueblos. Originally, he would travel with horse and buggy, but later, as transportation evolved, he began using his automobile to quickly tend to his patients.In 1895, Martin and Helen purchased their principle home, which also served as Martin's medical office. The adobe house exhibits the Pueblo-Colonial architectural style. Both Martin and Helen were strong advocates of the arts, and eventually, they held the 1915 formative meeting of the Taos Society for Artists at their home. Their home began to be used as a gathering center for inspiring artists and humanitarians. Eventually, the Martins began purchasing houses surrounding their home and renting them out to artists. After Martin's death in 1935, the only hotel in Taos burned down. Helen, who took a huge interest in hospitality, bought the rest of the adobe houses that surrounded the property and converted the property into a hotel, and in 1936, the Martin Hotel was open for business. The hotel quickly became a a gathering place for Taos's social, intellectual and artistic society. Helen and her second husband ran the hotel until 1946, and they sold it to S.C. Albright, Mary Albright, and H.J. Gerard. In 1952, the hotel's signature blue thunderbird neon sign was positioned out front. The trio then sold it to Hilda and Harold Streets. Later, the Streets later renamed the Taos Inn, and they owned the hotel until 1972.Later in 1981, the Taos Inn was listed on the New Mexico State Register of Cultural Prosperities, and in 1982, the hotel was listed on the National Register for Historic Places. The hotel was listed for its well-preserved Pueblo-Colonial design commonly used in the Taos and Santa Fe area and also for its contributions to the Taos community. When the hotel was listed on the registers, there were seven buildings that made up the property including the Martin House, the Tarleton House, the Hinde House, the Sandoval House, a block of rooms, and two detached structures. In 1989, the hotel was acquired by Douglas M. Smith and Carolyn Haddock, and they later dubbed the hotel, the Historic Taos Inn. Under Smith and Haddock's care, they made several renovations to the walls of the buildings and the surrounding houses into up-to-date lodging areas where guests can stay.After 29 years of being owned by Smith and Haddock, in 2019, IMPRINT, a Denver-based hospitality company acquired the hotel and is currently operating the hotel. The Historic Taos Inn contains 44 rooms, a two-story lobby, a restaurant named Doc Martin in homage to Dr. Martin, and a bar called the Adobe Bar. The Doc Martin restaurant won several awards for its food and hospitality, and the restaurant is known for its signature chile rellenos and green chile. The hotel also has 14 curio shops where local Taos artists can showcase their work through window displays. Some artists that are featured through these exhibits include Thom Wheeler, Ed Sandoval, Bella Sue Martin, and Inger Jirby. The hotel's accommodations include free Wi-fi, a pet-friendly atmosphere, complementary parking, an outside fire pit, and free access to Shree Yoga Taos, an off-site pool, and a health/fitness center. In addition, the hotel hosts music and social events for its guests and the Taos community.

The Historic Taos Inn was once home to physician and one of the earliest American citizens in Taos, Dr. Thomas "Doc" Martin (1864-1935). After coming to Taos around the 1890s, Martin became the Taos community's physician and surgeon. In 1895, Martin and his wife, Helen purchased the Pueblo-Colonial adobe house, and it served as their principle home and Martin's medical office. The Martins were strong advocates for the arts, and they held the 1915 formative meeting of the Taos Society for Artists. After Martin's death in 1935, Helen converted the house and several adobe house around the property into a hotel, and in 1936, the Martin Hotel was open for business. The hotel became a gathering place for Taos's social, intellectual and artistic society. However, the hotel's name was changed to the Taos Inn by its subsequent owners, and then, it was later renamed the Historic Taos Inn. In 1982, the hotel was listed on the National Register for Historic Places for its architectural design and its contributions to the Taos community. In 2019, IMPRINT, a Denver-based hospitality company acquired the property and began operating the hotel. Currently, the hotel contains 44 rooms, a two-story lobby, a restaurant named Doc Martin in homage to Dr. Martin, and a bar called the Adobe Bar.

Historic Taos Inn 

Charles Bent was born in Charleston, West Virginia (then just Virginia) on November 11, 1799. He graduated from&nbsp;the West Point Military Academy before traveling to New Mexico to become a mercantile trader and frontiersman. He worked with his younger brother William and later partnered with Ceran St. Vrain, a major fur trader,&nbsp;to open the Bent &amp; St. Vrain Company store. In September of 1846, Bent became the first Governor of the New Mexico Territory. But many New Mexico inhabitants were not happy with the American rule, and on January 19, 1847, a group of Hispanic and Indian rebels led the Taos Revolt. Governor Bent was famously assassinated in his own home by being scalped alive and then killed. Bent's home still stands as a museum in his honor called the Governor Bent Museum,&nbsp;located on Bent Street in Taos (which is also named for him). It is the same adobe house where he died. Visitors can see the hole in the parlor wall that the rest of Bent's family escaped through during the revolt. There are also many mid-19th century furnishings, artifacts, memorabilia, and exhibits related to Charles Bent's life, including the Bent family piano that was transported west over the Sante Fe Trail.&nbsp; The museum also serves as the Gallery of Western Art, and various works by local artists are on display including a series of paintings called "Rural Americana" by Leal Mack. It's part of Taos' considerable collection of local and western art on display throughout the city.&nbsp;The Governor Bent Museum was added to the State Register of Cultural Properties in 1969, and to the National Register of Historic Places in 1978.

The Governor Bent House and Museum is dedicated to preserving the life and home of Charles Bent, New Mexico's first governor that was slain during the Taos Revolt. It houses many exhibits and artifacts related to the mid-19th century, as well as Bent family possessions and local western art. Admission is $1 for adults and $.50 cents for children, and the museum is located one block north of Taos Plaza.

Governor Bent House and Museum

Nicolai Fechin was Born in Kazan, Russia in 1881. Early in his childhood, Fechin almost died from meningitis, but he quickly recovered. As a child, he learned how to carve wood from his father who was a professional woodcarver. In addition, Fechin show incredible drawing and painting skills, and at the age of 13, he was enrolled in the Kazan Art School, which is an extension of the world renown Imperial Academy of Arts in the capital of St. Petersburg. Eventually, Fechin enrolled in the actual Imperial Academy of Arts, and his painting often reflected the rural places and native people he had met outside of St. Petersburg and during his visit to Siberia. In 1909, after graduating from the academy with high honors, Fechin won the Prix de Rome, which allowed him to travel and study at various artistic capitals in Europe. Eventually, Fechin was invited to showcase his paintings at an international exhibit at Carnegie Institute in Pittsburgh, Pennsylvania, and beginning in 1910, he started selling his work in the U.S. through art patron, William S. Stimmel.Upon returning from his international travels to Kazan, Fechin began teaching art for several years. Later, he exhibited some of work with some artistic movements and associations who were against artistic conformity and restrictions, such as the Association of Artists of Revolutionary Russia (AKhRR) and the Itnerants ("the Wanderers"). In 1913, Fechin married Alessandra Belkovitch (1896-1983), the daughter of the Kazan Art School director. A year later, the couple's only child, Eya (1914-2002) was born However, due to the aftermath of the Russian Revolution and the Russian famine of 1921, the family emigrated to New York in 1923 with the help of Stimmel and another art patron, Jack Hunter. While in New York, Fechin continued to sell his artwork and winning exhibitions, such as the 1926 International Exposition in Philadelphia. He also taught at the New York Academy of Art.However, in 1927, Fechin contracted tuberculous, and in need to better his health, he and his family were invited to move to Taos, New Mexico by art patron, Mabel Dodge Luhan in hopes the dry, humid climate could help Fechin's health. As his health improved, Fechin bought a two-story adobe house. The house's materials, massing, vigas, and portals exhibits the Pueblo Revival style. However, over the years, Fechin added some Russian design elements to the house, such as the details of the exterior, the fenestration, hand-carved twisted wooden columns, and furniture. During his time in Taos, Fechin and the Native Americans in the area became friends, and soon, the Native Americans and the Taos mountains became the focal point of Fechin's paintings. In 1933, Fechin and Alessandra divorced, and Fechin stopped working on the house and left; Alessandra stayed at the house until her death in 1983.Later on life, Fechin traveled to various places, such as New York, California, Mexico, Japan, and the Pacific Islands of Java and Bali. He continued to teach art to small groups of people. In 1955, Fechin died in Santa Monica, California, but in 1976, Eya took his remains to Kazan to be buried in his home country. In 1979, the Nicolai Fechin House was listed in the National Register for Historic Places for its unique mixture of the Pueblo Revival and Russian architectural style and its historical connection with Nicolai Fechin. Throughout the rest of her life, Eya was devoted to preserve her father's legacy In 1981, Eya founded the Fechin Institute in Taos in honor of her father. Eya Eya took the responsibility of caring for the house, and in 1994, she helped convert the house into the Taos Art Museum. After Eya's death in 2002, her daughter and son-in-law passed the house down to the Board of the Taos Art Museum, and the board made renovations to the museum. Today, the museum contains 300 pieces of artwork by Fechin and other Taos artists. The museum has several of Fechin and his family's personal possessions on display in two different exhibits, the Fechin House Exhibit and the Fechin Studio Exhibit. In addition, there is a gift shop where guests can buy books relating to Fechin and the Taos art colony, jewelry, prints, wall art, ceramics, and retablos. At the museum, people can support the museum through purchasing a membership, donating funds to the museum, and volunteering at the museums and its events.

The home to the Taos Art Museum since 1994, this was the home of Nicolai Fechin (1881-1955), one of the most prolific painters during the 20th century. Fechin purchased his house in 1927 when he arrived from the Soviet Union. Born in Kazan, Russia, Fechin showed great artistic abilities at an early age, which allowed him to travel, study at various artistic capitals in Europe and teach in Russia. However, due to the aftermath of the Russian Revolution and the Russian famine of 1921, Fechin moved to New York City, and eventually, he moved to Taos, New Mexico. The house's design mostly showcases the Pueblo Revival architectural style, but over the years, Fechin added   Russian architectural details to the house. During his time in Taos, Fechin and the Native Americans in the area became friends, and soon, the Native Americans and the Taos mountains became the focal point of Fechin's artwork. In 1979, the house was listed on the National Register for Historic Places for its unique mixture of the Pueblo Revival and Russian architectural style and its historical connection with Nicolai Fechin. In 2002, the Nicolai Fechin House was converted into the Taos Art Museum where most of his work and the work of other artists in Taos are on display.

Taos Art Museum (Nicolai Fechin House)

Bernard J. Beimer was born in 1883. Beimer's ancestry originated from Germany, and his grandfather came to the U.S. from Hosman, Westphalia, Germany in 1842. Not much has been documented about his childhood or his adolescence. In 1906, Beimer was employed as a fireman in Colorado when he was 23 year sold. He was stationed near the Atchison Topeka and Santa Fe Railroad. In the same year, Beimer met and married 19 year-old Marie Christine Swanson, a Swedish-American citizen of La Junta, Colorado. Once the couple married, they moved to the mining town of Elizabethtown to begin a family. In 1920, Beimer built his two-story side-gabled Taos residence for his his growing family, which included him, Marie, and their five children, Carl B. (Jack), Sam, George, Blanche, and Joe Anthony. 13 years after the house was built, Beimer and Marie signed their names as proprietors of the property. According to the 1930 U.S. Census, he was working at a coal yard. In 1953, Beimer passed away at the age of 70. When Beimer was constructing the house, he did not use the typical adobe building materials or the Spanish Revival or Pueblo architectural designs like most houses in Taos during that time. Instead, he was heavily inspired with his German roots, and he used the German building techniques of fachwerk ("framework" in German) and nogging. Brought to the U.S. by German immigrants to the U.S. Midwest during the 18th and 19th century, fachwerk is a wooden framework, and nogging is the process of using different materials to fill the empty interstices. The interstices are usually filled with stone chips, brick, rubble, wattle-and-daub, sun-dried mud bricks, and tightly packed clay and straw. Another interesting feature of the house was that Beimer did not use metal nails or brackets to join the timber pieces of the fachwerk together. Instead, Beimer carved notches and pegs into the timber and connected the pieces together. In addition, square heavy timbers serve as continuous posts and girts used to hold up the second floor beams.The house's foundation is made out of stucco-cement. The house includes various interior and exterior features, such as a boxed-in staircase with a straight run, built-in cabinets, a basement, an attic, an indoor porch, and two dormer windows protruding from the gabled roof. To give the property some more distinction from other house, Beimer planted some trees around the from yard. In 2006, the Bernard J. Beimer House was listed on the National Register of Historic Places for its rare architectural style and design in Taos, New Mexico.

Built in 1920, the Bernard J. Beimer House exhibits structural features that are unique to what is commonly seen in Taos, New Mexico. Instead of using adobe as building material or following a Spanish Revival or Pueblo architectural design like other houses in Taos, Beimer (1886-1953) took inspiration from his German roots in structuring the two-story side-gabled house. Beimer used the German architectural building techniques of fachwerk and nogging for the house. Fachwerk is a wooden framework, and nogging is the use of different materials to fill the empty interstices. Instead of using metal nails and brackets for the framework, Beimer carved notches and pegs into the timber pieces of the framework and connected them together. In addition, Beimer planted several tress around the front yard to give some distinction to the property. After the house was built, it served as Beimer and his family's home for several decades. In 2006, the house was listed on the National Register of Historic Places for its rare architectural style and design. 

Bernard J. Beimer House 

Mary Millicent Abagail Rogers was born February 1, 1902 to Mary Benjamin and Henry Huttleston Rogers II. Rogers was an heiress to her grandfather, Standard Oil tycoon Henry Huttleston Rogers' wealth and fortune. Her grandfather was also the co-founder with John D. Rockefeller of the Standard Oil Trust. Rogers grew up in different places in New York, such as Tuxedo Park and Manhattan. As a child, Rogers developed rheumatic fever, and doctors believed she would not survive past the age of 10. Even though Rogers lived beyond her doctors' predictions, she would continue to suffer medical conditions caused by the rheumatic fever, such as several heart attacks, double pneumonia, and a crippled arm.Despite her medical issues, Rogers grew up upper-class, and she developed a taste for fashion. During her adolescence and young adult life, she became a huge socialite in New York. Rogers attracted the attention of photographers, clothing designers, and fashion magazine due to her exquisite and distinctive fashion taste. She was featured in numerous magazines, such as Vogue, Vanity Fair, and Harper's Bazaar. Rogers was referred as the "best dress woman of all-time" during her socialite days in New York. At one point, she lived in Anton, Austria and remained in Europe until WWII broke out. Between the 1920s-1940s, Rogers married three times. She was married Austrian Count, Ludwig von Salm Hoogstraeten from 1924-1927, and the marriage produced a son, Peter Salm (1924-1994). Her second marriage was to Arturo Peralta-Ramos from 1927-1935, and their marriage produced two sons, Arturo (Jr.) (1928-2015) and Paul Peralta-Ramos. Her final marriage was to American stockbroker, Ronald Balcom from 1936-1941. However, Rogers was said to be in relationships with actor, Clark Gable and authors, Roald Dahl and Ian Fleming.In 1947, Rogers moved from New York to Taos, New Mexico because she believed that the Taos air and climate would help her with her declining health. Also, Rogers has said that during her move, she felt heart-broken over Clark Gable. Rogers was quickly intrigued with the Native Americans and Hispanic immigrants and their culture. She discovered talent, design, and humanity through their art. Soon, she started collecting Native American and Hispanic art, such as ceramics, pottery, textiles, jewelry, sculptures, and figurines. In addition, she would design and make jewelry pieces with famed designer, Charles James, and the duo would make jewelry pieces inspired by the Taos Native Americans and Hispanics and use materials, such as turquoise, pearls, onyx, natural stones, coral, and silver. Her jewelry even included imagery inspired from what she saw in Taos, such as crosses, dragonflies, and snakes. Rogers became one of the first celebrities to advocate for Native American civil rights. She even successfully lobbied for Native American art to be classified as historic and protected. Rogers even helped securing Blue Lake for Taos Pueblo. Due to all of her activism, Rogers was often known as the "jewel of the Southwest." In 1953, Rogers passed away in Santa Fe, New Mexico due to her multiple health conditions at the age of 51.After Rogers' death, her youngest son, Paul opened the Millicent Rogers Museum in 1956 where he displayed his mother's collection of Native American and Hispanic art and jewelry. In 1968, the museum was moved to its current location. Rogers' friends, Claude and Elizabeth Anderson donated their traditional hacienda, which created the unique setting for Rogers' collection. In 1984, the museum was renovated by architect, Nathaniel Owings. Today, Today, the museum still procures Native American and Hispanic art in Rogers' honor and her mission to celebrate the enriching cultures that make up Taos, New Mexico. The museum offers educational tours and lectures about Native American art, inspirational women of New Mexico, and exhibits dedicating to famed artists from New Mexico. The museum also offers a space to rent for events, online exhibits for people to view the museum's procured art through their computer or phones, and education programs for classroom and homeschooling environments. Inside of the museum, it has a gift shop where visitors can buy Native American and Hispanic jewelry, artwork, pottery, and baskets. The museum has received accreditation from the American Association of Museums.

Opened in 1956, this museum is dedicated to preserving the life story of one of the most influential fashion icons and socialites during the 20th century, Millicent Rogers (1902-1953). The museum also continues her legacy of supporting area Native American and Hispanic artists by purchasing and displaying their work. Rogers was an heiress who inherited the fortune of her grandfather, Standard Oil tycoon Henry Huttleston Rogers (1840-1909). Millicent Rogers was often referred to as the "best-dressed woman of all-time" and the "jewel of the Southwest." In addition to her status as a fashion icon and a socialite, she was one of the first celebrities to advocate for Native American civil rights. As part of her effort to support area tribes, she was known to purchase art and jewelry created by Native American and Hispanic artisans. Rogers successfully lobbied for Native American art to be classified as historic and protected. After her death, Rogers' youngest son, Paul Peralta-Ramos (1931-2003) opened the museum where Rogers' collection of Native American and Hispanic art was displayed. In 1968, the museum moved to its current location. Rogers' friends, Claude and Elizabeth Anderson donated their traditional hacienda, which created the unique setting for Rogers' collection. Today, the museum is accredited by the American Association of Museums and still procures Native American and Hispanic art in Rogers' honor and her mission to celebrate the cultures of Taos and New Mexico. The museum offers educational tours and lectures about Native American art, and it has a gift shop where visitors can buy Native American and Hispanic jewelry, artwork, pottery, and baskets.

Taos Driving Tour

Taos Pueblo

Introduction

Images

Backstory and Context

Sources

Additional Information