Jozef Bakos was a vital force in shaping Santa Fe's artistic identity, a key member of the influential group Los Cinco Pintores, and a respected artist and teacher whose career spanned over half a century in the City Different. Born in Buffalo, New York, in 1891 to Polish immigrant parents, his artistic inclinations were apparent early on, possibly influenced by his father's skills as a woodcarver and amateur painter. Growing up in Buffalo's vibrant immigrant community likely instilled in him a unique perspective that he would later bring to his art.
His formal art training began at the Art School of the Albright Art Gallery (now the Albright-Knox) in Buffalo, where he studied from 1912 to 1916. A pivotal encounter during this time was with instructor John E. Thompson, a Buffalo-born artist who had studied in Europe. Thompson introduced Bakos and his childhood friends, Walter Mruk and Augustine Korda, to European modernism, particularly the structural innovations of Paul Cézanne. Thompson's mentorship profoundly shaped Bakos's approach, encouraging him towards expressive color and form, and fostering an interest in plein-air painting.
In 1918, Bakos followed Thompson west to Colorado, where Thompson had relocated. Bakos briefly taught art at the University of Colorado in Boulder. A flu epidemic closed the university temporarily in 1920, prompting Bakos to visit his friend Walter Mruk, who was then in Santa Fe. During this visit, Bakos and Mruk exhibited work at the Museum of Fine Arts (now the New Mexico Museum of Art). Captivated by the unique atmosphere, landscape, and burgeoning art scene, Bakos decided to make Santa Fe his permanent home that same year.
Life wasn't easy for a young, modernist artist in Santa Fe in the early 1920s. Commercial galleries were scarce, and the market for modern art was limited. Bakos initially supported himself through various means, including working briefly as a forest ranger with Mruk at Rito de los Frijoles (now Bandelier National Monument). Crucially, he utilized his carpentry and woodcarving skills, inherited from his father, creating finely crafted Spanish Colonial-style furniture, including headboards for the historic La Fonda hotel on the Plaza. This practical skill allowed him the "luxury to paint."
In 1921, Bakos became a founding member of Santa Fe's first modernist art collective, Los Cinco Pintores, alongside Mruk, Fremont Ellis, Willard Nash, and Will Shuster. This group of young artists, often called "the five little nuts in five mud huts" for the simple adobe homes they built on Camino del Monte Sol, sought to create and exhibit art that reflected their modern sensibilities and the spirit of New Mexico, distinct from the more established Taos Society of Artists. They aimed to make art accessible beyond traditional venues, embodying a democratic and community-focused approach.
Bakos's early painting style reflected the expressionistic influences of artists like Van Gogh, combined with the structural lessons learned from Cézanne via Thompson. He was known for his dynamic landscapes, often featuring the aspen groves, mountains, and adobe architecture of Northern New Mexico, rendered with bold colors and vigorous brushwork. Over time, his style evolved, incorporating elements of Cubism and greater abstraction while always retaining a strong connection to the natural forms that inspired him. He painted landscapes, still lifes, and occasional portraits throughout his long career.
Even after Los Cinco Pintores formally disbanded around 1926, Bakos remained a fixture in the Santa Fe art world. He continued to paint prolifically and gained national recognition, with works exhibited in major museums and purchased by institutions like the Whitney Museum of American Art in the 1930s. He also dedicated a significant part of his life to teaching, sharing his expertise and passion with generations of students. He lived and worked in his beloved Santa Fe until his death in 1977, leaving behind a rich legacy as a pioneer of New Mexico modernism.
Why His Art Matters
Jozef Bakos's art and career hold significant weight in the story of American and Southwestern modernism. Experiencing his work offers insight into the crucial early development of the Santa Fe art colony and the unique fusion of international artistic ideas with the spirit of the New Mexico landscape. His art matters because he was a foundational figure who helped define a distinctly Santa Fe brand of modern art.
As a key member of Los Cinco Pintores, Bakos was instrumental in establishing Santa Fe as a center for modernist experimentation, offering a youthful and sometimes radical alternative to the more traditional art scene. His commitment to depicting local subjects – the aspens, the mountains, the adobes – through a modernist lens helped create a visual language specific to the region.
His artistic style itself is compelling. Bakos skillfully synthesized European influences, notably the structural approach of Cézanne and the emotional intensity of Expressionism, with the unique light and forms of the Southwest. His paintings often vibrate with energy, whether through bold color choices, dynamic compositions, or expressive brushwork. Tracking the evolution of his style, from early expressionistic landscapes to later, more abstract and Cubist-influenced works, reveals an artist constantly exploring and pushing his boundaries.
Bakos's longevity and sustained presence in Santa Fe also contribute to his importance. Unlike some artists who had brief but impactful stays, Bakos dedicated nearly six decades to living and working in the city. He witnessed and participated in the evolution of the art scene over a long period, serving as a link between the pioneering generation and later artists. His long teaching career further amplified his influence, shaping younger artists in the region.
Furthermore, Bakos's work often conveys a deep, almost spiritual connection to the New Mexico landscape. His depictions of aspen groves, mountain ranges, and winding roads are not just representations but interpretations imbued with personal feeling and a strong sense of place. His ability to capture the unique atmosphere and character of Northern New Mexico makes his work resonate powerfully with those familiar with the region, while also offering a compelling introduction for newcomers. His paintings endure as testaments to a life deeply intertwined with the art and landscape of Santa Fe.
5 Things Most People Don't Know
- Art Teacher to Generations: While known as a core member of Los Cinco Pintores, Bakos had a long and influential career as an art teacher after the group dissolved. From 1940 onward, he taught art at Santa Fe High School, sharing his knowledge and modernist perspective with local students for many years, significantly impacting the community's artistic development.
- His Art Helped Pay for His House Lot: To acquire the land on Camino del Monte Sol where he and the other Pintores built their homes, Bakos reportedly traded paintings with the landowner, showcasing the practical, sometimes barter-based economy within the early Santa Fe art colony.
- Early Recognition Led to Controversy: In 1919, before moving to Santa Fe permanently, Bakos exhibited work alongside his mentor John Thompson and friend Walter Mruk in Denver. Their modernist style shocked the local public, eliciting angry letters to the press comparing their art to "Bolshevism" – making Bakos part of the first modernist art controversy in the Rocky Mountain region.
- Master Furniture Maker: While it's known he carved furniture for La Fonda early on, Bakos was apparently a highly skilled carpenter and furniture maker throughout much of his life, a craft learned partly from his father. He continued making pieces, likely for personal use and potentially private commissions, integrating his artistic sensibilities into functional objects.
- Awarded State Honor Late in Life: Decades after the initial buzz of Los Cinco Pintores, Jozef Bakos received significant official recognition from his adopted state. In 1976, at age 85, a major solo exhibition, "The Art of Jozef Bakos," was held in the Governor's Gallery at the New Mexico State Capitol, and the Governor formally honored him, recognizing him as a master painter and acknowledging his lifelong contribution to the state's artistic heritage.
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