Wallingford/Jarlov Family Trees

Andrew was a well-known artist who was part of The Armory Exhibition that signalled the beginning of the modern art movement. He once met Matisse. He lived from the early 1900s until his death in Taos, New Mexico. He was contemporary and friends with such as Virginia O'Keefe and others.

When I met him in the middle 1970s, he was in his 90's, but would drive his car the 200 feet from his house up to his studio to work each day.

from http://www.aaa.si.edu/collections/andrew-dasburg-and-grace-mott-johnson-papers-7320/more#biohist

Andrew Michael Dasburg (1887-1979) was born in Paris, France, to German parents. After his father died and when he was five, Dasburg and his mother moved to New York City. In 1902 Dasburg started attending classes at the Art Students' League and studied with Kenyon Cox and Frank Du Mond. He also took night classes with Robert Henri. In 1907 he received a scholarship to the Art Students' League summer school in Woodstock, New York and spent three summers studying there in Birge Harrison's painting class. While in school he became friends with many young artists, including Morgan Russell and his future wife, Grace Mott Johnson.

from http://www.answers.com/topic/andrew-dasburg

(1887–1979). Painter and draftsman. A contributor to adventurous color abstraction of the 1910s, he built his mature reputation on landscapes, still lifes, and portraits combining acute observation with structural techniques learned from the work of Cézanne and the cubists. Born in Paris, Andrew Michael Dasburg lived for three years in Germany before he arrived in New York in 1892. He was later naturalized as a U.S. citizen. In 1902 he began his formal studies at the Art Students League, where Kenyon Cox numbered among his teachers. He also studied with Robert Henri. During the several years following a 1909–10 sojourn in France, he pushed cubism close to pure abstraction in a few particularly daring works. He also made a brief detour into a form of color abstraction related to synchromism. In 1916 Dasburg abandoned his colorful expressionistic modernism to begin forging a personal style reinvigorating the classical tradition as received through Cézanne. Typically, warmth of tone and a deft touch animate the rigorously structured, pared down New Mexican Village (Museum of Fine Arts, Santa Fe, 1926). In spare landscape drawings of the 1950s and 1960s, he pushed rigorously toward formal essentials and expressive marking, approaching aspects of contemporary abstract expressionism. Between 1906 and the late 1920s, Dasburg regularly worked at Woodstock. After extended visits to the Southwest beginning in 1918, he settled permanently in Taos in 1930. With a discerning eye for unconventional expression, Dasburg figured importantly in popularizing American Indian art and instrumentally in bringing attention to John Kane. At his death, he was thought to be the last surviving exhibitor in the Armory Show. His first wife, a financially independent, freethinking “New Woman,” sculptor Grace Mott Johnson (1882–1967), born in New York, studied at the Art Students League primarily with Gutzon Borglum, but worked also with Hermon MacNeil and James Earle Fraser. She and Dasburg married in London in 1909, on a side trip from France, but divorced in 1922. A specialist in animal subjects, she, too, exhibited in the Armory Show and participated in Woodstock activities. Although she visited Dasburg in New Mexico, she never resided there. Later among the earliest agitators for the civil rights of African Americans, she became relatively inactive as an artist during the final two decades of her life. From 1922 until 1928, Dasburg lived with sculptor, painter, and theater professional Ida Rauh (1877–1970), another feminist, who had been married from 1911 until 1922 to Max Eastman, crusading editor of The Masses and, subsequently, The Liberator.

from http://www.aaa.si.edu/collections/andrew-dasburg-and-grace-mott-johnson-papers-7320/more#biohist

In 1909 Johnson and Dasburg went to Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year they were married. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude and Leo Stein, and became influenced by the paintings of Cezanne and Cubism. He returned to Woodstock, New York in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born. Both Dasburg and Johnson showed several works at the legendary Armory Show in 1913, and Dasburg also showed at the MacDowell Club in New York City, where he met the journalist and activist John Reed who later introduced him to Mabel Dodge (Luhan), a wealthy art patron and lifelong friend. In 1914 Dasburg met Alfred Stieglitz and became part of his avant-garde circle. Using what he had seen in Paris, Dasburg became one of the earliest American cubist artists, and also experimented with abstraction in his paintings.

Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico by Mabel Dodge, and returning in 1919, Johnson joined him there for a period of time. Also in 1919, Dasburg was one of the founding members of the Woodstock Artists Association with John F. Carlson, Frank Swift Chase, Carl Eric Lindin, and Henry Lee McFee. In 1922 Dasburg and Johnson divorced, and also at that time he began living most of the year in Santa Fe with Ida Rauh, spending the rest of the year in Woodstock and New York City. Dasburg became an active member of the Santa Fe and the Taos art colonies, befriending many artists and writers living in these communities, and remaining close friends with Mabel Dodge Luhan. Here he moved away from abstraction, and used the southwestern landscape as the inspiration for his paintings.