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  • Walter Ufer
    Jul 22, 1876 - Aug 02, 1936
  • Tom and Jim - Walter Ufer was an American artist based in Taos, New Mexico. His most notable work focuses on scenes of Native American life, particularly of the Pueblo Indians. Walter Ufer is known for Social realist landscape, figure, portrait and Indian genre painting.
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Tom and Jim
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  • Tom and Jim

  • Walter Ufer
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  • circa 1930
    Oil on canvas
    25 x 30 in. (63.5 x 76.2 cm.)

    Born in Louisville, Kentucky, and studying in Germany before settling in Chicago, Walter Ufer first visited Taos, New Mexico, in 1914 when art patron Carter Harrison offered to subsidize a painting trip for the artist to the Southwest. Ufer found in New Mexico a wealth of imagery that led him to declare, "I believe that if America gets a National Art it will come more from the Southwest than from the Atlantic Board." (as quoted in Exhibition of Recent Paintings by Walter Ufer, N.A., exhibition catalogue, New York, 1928, n.p.) Beyond the Southwestern locale, for Ufer, there was no greater American truth than the Native American and his daily life. He sought honesty in his depictions, seeking an original snapshot into the contemporary life of his Native subjects. Combining this earnest focus on the local daily happenings with a Modernist approach to the distinct light and color of the Southwestern region, Tom and Jim exemplifies Ufer’s unique style of Western Art that has garnered him prestige since his first trip to the region.

    Ufer once commented, "I paint the Indian as he is. In the garden digging--in the field working--riding amongst the sage--meeting his woman in the desert--angling for trout--in meditation..." (as quoted in Pioneer Artists of Taos, Denver, Colorado, 1983, pp. 128-29) Indeed, sensitively aware of how his artistic predecessors had rendered similar scenes, Ufer felt he was in a unique position to capture an authentic contemporary glimpse of the evolving life of the Taos Indian. He was determined to portray the Native Americans of the early twentieth century, not as remote aboriginal figures, but as men and women at a cultural crossroads, pressured by the dominant American culture yet maintaining their traditional heritage. With this focus on a realistic depiction of contemporary life, Ufer can be seen as a sort of Ashcan School painter of the West, seeking in his art the same unidealized representation of the everyday as artists like Robert Henri, George Bellows and George Luks. As Stephen L. Good writes, “There is a direct and vital apprehension of personality, a psychological immediacy that is couched in much the same technical terms as a portrait by Henri or Luks or Bellows. The impact, not surprisingly, is similar. It was this quality that would set Ufer's work apart in style and tone from much of the painting in Taos which preceded him." (Pioneer Artists of Taos, p. 128) In so doing, Ufer reveals drama in the ordinary and creates monumental compositions from the seemingly mundane.

    Accordingly, in Tom and Jim, Ufer conscientiously pays careful attention to the everyday dress and appearance of the Indian as he walks his horse down the sandy roads of Taos. His honest depiction is informed by his close relationship with his subject, Jim Mirabel, a friend and model who regularly appeared in not only his own paintings but also pictures by other members of the Taos Society. According to Kenneth Adams, the youngest member of the organization, “[Older artists] introduced us to their Indian friends who worked with them as models and these friends in turn found models for us.” (The New Mexico Quarterly, vol. 21, 1951, p. 151) Jim appears in Ufer’s pictures spanning nearly twenty years, including Jim and His Daughter (1923, Art Institute of Chicago, Chicago, Illinois). In the present work, he is seen with his horse named Tom.

    While his subject is a casually familiar friend, Ufer’s execution of Tom and Jim is, by contrast, vibrant and intense. Employing vigorous brushwork and highly saturated color, the composition is pared down to minimal planes of light and shadow. Broad areas of the characteristic Southwestern landscape are composed in animated washes of color, which saturate the canvas with luminosity and texture. Ufer's fluid, curvilinear draftsmanship unites the scene and stimulates the eye. In fact, despite his European training as a studio artist, Ufer often painted en plein-air to better capture the brilliant sunlight of the Southwest. Here, the light transforms the scene into a brilliant tapestry of color and creates undulating shadows that seem to take on a life of their own. Ufer creates a rich, painterly surface with a broad treatment of details and a boldness and fluidity of execution that is decidedly modern.

    Tom and Jim masterfully embodies a current and relevant American art, breaking from the passé traditions of earlier Romantic depictions of the West to render familiar subjects in a new, fresh and modern manner. Yet, Ufer still characteristically lends a subtle monumentality and thoughtfulness to each of his figures, reflecting the importance and endurance of their unique history and culture. As demonstrated in Tom and Jim, "They seem suspended in a sort of elegiac tranquility, evoking bittersweet sentiments of loss and sadness. These paintings, often executed with superb technical means, give the sense of an exalted, refined realm of values, a world at once exotic and safely domesticated, which a powerful American society had subdued and left behind, but still held in a redemptive embrace." (Pioneer Artists of Taos, p. 14).

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Other paintings by Walter Ufer:

The Yellow Shirt
The Yellow Shirt
Their Audience
Their Audience
Trailing Homeward
Trailing Homeward
Trailing Homewards
Trailing Homewards
Walter UferWalter Ufer was born in Huckeswagen, Germany. At the age of four, Ufer moved with his family to Louisville, Kentucky, where he grew up. His father was a master gunsmith noted for his fine engraving work. Though Ufer's formal education did not extend beyond grammar school, his promising artistic talent led his father to apprentice him to a commercial lithographer. At age seventeen, Ufer followed his mentor to Germany, working as a journeyman printer and engraver. He soon decided to pursue a career as a painter and enrolled in the Royal Applied Art School and the Royal Academy, both in Dresden.

By 1899 Ufer had returned to the United States to settle in Chicago. He continued his studies at the Art Institute while supporting himself as a commercial lithographer and engraver. In 1911 he married a Danish-born artist, Mary Fredericksen. The couple returned to Europe for two years, traveling extensively and studying with Walter Thor in Munich.

After returning to Chicago in 1914, Ufer, along with fellow artist Victor Higgins, was commissioned by art patron Carter Harrison to paint at Taos. Both men were captivated by the little village and decided to stay. They were invited to join the Taos Society of Artists and became full members in 1917. Though the Ufers travelled extensively, Taos was their home until Ufer's untimely death in 1936.

By all accounts, Ufer was a colorful personality. He was a generous, outspoken man with a sensitive social conscience. During the flu epidemic of 1919, he worked day and night alongside the town's only doctor, ministering to the sick.

Ufer was the first New Mexico artist to win a prize at the Carnegie International. Included among his other numerous awards are the Chicago Art Institutes's First Logan Prize, the Isidor Gold Medal, the Pennsylvania Academy's Temple Gold Medal and the National Academy of Design's Altman Prize, which he won twice. Ufer's brilliant, boldly painted compositions are distinctive images of the Taos Indian surrounded by the magnificent landscape of the region.