Ned Jacob Drawing Inspiration from the World

Ned Jacob Drawing Inspiration from the World

NED JACOB Drawing Inspiration from the World!

Life! Work! Friends, Students &Colleagues! An Abridged Version

This tribute is inspired by the love of a man for his life’s work.

“Base camp” in the states

Montana 1956-1959 Taos ✵ Santa Fe

1960-1964 Denver 1965-1987 Maine 1988-

The Journey Mentors & Fellow Travelers

Robert Lougheed John Clymer

Ace Powell Ned Jacob

Bettina Steinke

(top) John Clymer in his studio inTeton Village Jackson Hole Wyoming - Photo by David Swift (left) A well known Clymer painting. Ned & Doris, John Clymer’s wife, posed as models for John.They danced around in a circle for quite some time (laughing at how stupid they must have looked) until John got the drawings he wanted.

(Back left - right) Mark Daily Bill Sharer Hank Folwell (Front left - right) Ned Jacob Bettina Steinke Jon Zahourek

(Back l-r) Mark Daily, Ned Jacob, Bill Sharer, Jon Zahourek (Front l-r) Collectors Mr. & Mrs Jack Dunn,

Sandra Wilson, Gallery Owner

Ned Jacob giving painting demonstration as Tom Ryan looks on.

Ned Jacob working in his Wazee Street Studio, Denver Colorado. Photo by Mark Daily

Drawings Paintings

“I paint what inerests me and after forty years of practice, I no longer concern myself with style, nor technque, nor markets. Since the life of a painter is an eternal journey of discovery, I am constantly challenged, often discouraged, but never bored”

- Ned Jacob

American West

September 2021 Exhibit Buffalo Bill Center of the West

Africa Kenya • Tanzania Maasi Samburu Kikuyu

Morocco

Landscapes

The Figure

The Horses

The Mentor Teaching • Listening • Advising

Jackets Designed by Eugene Dobos

Working Outdoors & Indoors

A toast to a man who to many has meant so much.

Ned Jacob An Appreciation from Friends Colleagues & Students

Carolyn Anderson Bill Anton Marla Brenner Lorenzo Chavez Mark Daily Sandra Dallas Cindy Howell Hodge Buffalo Kaplinski Ramon Kelley Tim Lawson Robert Lemler Kaye Lemon Kim Lordier Michael Lynch Karen McLain Sherrie McGraw Deborah Paris Dave Powell Laura Robb Peggi Kroll Roberts

Ray Roberts Sandy Scott William Sharer Douglas Smith Shelley Smith Jerry Weiss Ron Winters Skip Whitcomb Kathy Wipfler Dan Young Jon Zahourek

ABOUT FORTY YEARS AGO, on a trip from Montana to Denver to visit one of my first galleries, I wandered into the bookstore The Tattered Cover . I can still remem- ber the moment when I walked up to a a table in the middle of the store and found Ned Jacob’s book Sacred Paint . I was so excited I wanted to grab someone, any- one, and share my discovery. Up until that day, I only had a few gallery ads and magazine articles of Ned’s work to look at. Finding that book was the highlight of my trip, and it is still one of my favorites to this day. Ned, in your tribute to Winold Reiss in a C.M. Russell Museum catalog of his work, you wrote, “ I see character, discipline, and vigor; enthusiasm, and humanity . . . I see a generosity of spirit portraying his many subjects with affection and artistry . . . His great originality is obvious, so much so, that in the Western market, collectors are baffled and often hor- rified by such graphic power. ” Well said, Ned, but this most certainly also describes you and your own art – the humanity, the discipline, the perceptive observation, and the beautifully artistic interpretation. And yes, there are those in the Western art market who will never be able to understand your vision. In the world of realist art, many are fixated on the obvious, the predictable, and the trite. You, however, have given us a bold vision tempered with a poet’s heart. You created your own language of description, and its power and grace are timeless and universal. - Carolyn Anderson

Carolyn Anderson

Several seminal moments stand out as well as a few sparsely worded comments. But my take away from Ned is “passion.” Just a phone call that often morphed into an odyssey of clever quips and incisive diagnosis left me invariably breathless with enthusiasm for painting. Ned loved the West. That it became trivialized in art is I think what sent him to Africa. But he never lost his excitement for the man on horseback in open country and that knit us together. He rightly judged those things to be lofty and dignified requiring diligent work. He demanded it in himself. He inspired it in others. You might figure that anyone who could communicate through line, form and color like Ned might not be able to teach. But he is an extraordinary teacher not only by example. In the classroom, Ned Jacob’s native eloquence strikes profoundly and deeply. He made me reach higher because of his enthusiasm for the beautiful. What a gift! With the horse, he had no contemporary peer.... he had no peer with the figure, for that matter. His generous sharing of hard-earned knowl- edge and his old world reverence for the craft of painting spoke volumes when compared to the grasping, competitive conceit we see so much of today. Lucky to know him is an understatement. Listening to him was inspiring. Studying with him was the thrill of a lifetime.

Bill Anton

NED TAUGHT ME PROFESSIONALISM and what elegant visual expression looks like on paper and canvas. My time with Ned was largely due to Mike Lynch, with whom I’d taken workshops. M.J. knew what I needed to do to take the next step as a painter largely focused on the West. I had been “sold’’ for sometime on working from life. But the horse from life? Who’s doing that? Ned Jacob....you need to study with Ned.’ ’ Thank you Mike Lynch. Of course, Ned’s reputation preceded him and I was scared of him. The ordinary is always scared of the extraordinary. Prodigious talent coupled with extremely high standards was intimidating. Frankly, that he would talk to me, let alone help me, was difficult to grasp.

- Bill Anton

I WAS INTRODUCED TO NED’S WORK through a Denver friend who gifted me his book Sacred Paint. A couple years later I was to meet the man himself in Florida as a tag along with a journalist who was interviewing him. At the time I was an art director/graphic designer thinking I’d like to do some serious painting. Ned invit- ed me to his next horse painting workshop in Wyoming. I loved horses just didn’t know if I wanted to paint them. But “painting is painting, right?” I had no idea how much I was about to change my life. The simplicity of Ned’s work is extremely deceiving to a neophyte. In time Ned taught me the importance of the drawing behind those elegant brush strokes and the difference between drawing and rendering. In his figure workshops he taught us how to get out of our own way through the exercise of drawing 2-5 minute poses 4-5 hours/day for a week. No time to think. Only time to see. To develop muscle memory. Ned’s figures, horses and landscapes are all about design, drawing and light hitting form, each culminating in its own prodigious elegance. I remember one afternoon watching my painting sail across the corral directly into a pile of horse pucky. I told Ned I thought it was a sign that I better keep my day job! He laughed hard but didn’t disagree. His teaching deals the straightforward input we all need and deserve. Ned has been a treasured friend and mentor for over 30 years. Through our friendship I’ve observed a man who holds his standards high, loves his friends deeply and takes on anyone who offends either with a great deal of enthusiasm. His kindness & generosity know no bounds whether with students, friends or complete strangers in need of his attention. Ned your work is timeless. Your word is sacrosanct. Your humor - wonderfully wicked! With much love and great respect, Thank You!

Marla Brenner

- Marla Brenner

I first met you around 1981 when I was eating dinner with my girlfriend Dolores (now my wife for 38 years) at a neighborhood restaurant, Governors Park. I recognized you at this restau- rant from the photos of you in the Sacred Paint book. I was excited and nervous and went up to you to meet you and tell you of my love of and desire to pursue of the arts. You gave me the best advice I was not willing to take. After I said to you “I am going into the arts” you replied “No, don’t do it. Get out now.” I understand that advice now. I sought your artwork out in any venue I could, so I could see the art and study it in person and your art always excited and moved me deeply. I was finally able to attend a painting workshop with you in the late 1980’s via the newly formed Art Students League of Denver. I was so excit- ed I would be able to hear your thoughts about art and learn from you. I felt I was learning from a friend; I enjoyed your inspiring class and was thrilled to get invited to visit your studio in downtown Denver and invited to draw a live model with you and others. Your life and art are and always will be such an important part of why I love the fine arts. How can I ever thank you for the kindness you showed me and your interest in what I was doing? You are a treasure to me, and words are not adequate to express my respect, love and appreciation for you Ned, Mi buen amigo.

Lorenzo Chavez HOW CAN I EXPRESS MY GRATITUDE for the inspiration I have gained by knowing of you, your life, and your art. I first learned about you and your art in 1979 when a child- hood friend from my hometown of Albuquer- que purchased your book Sacred Paint from the Fenn Gallery in Santa Fe. I remember well the thrill I had when I sat down with my friend, and we paged through your book together. Your art spoke to me profoundly in my early artistic life and added to my love of art and my newly formed desire to pursue the arts. That idea led to my leaving my home and family to move to Denver to pursue a career in the graphic arts with the idea to continue to pursue the fine arts in my spare time. I moved into an apartment in Capitol Hill in Denver that was walking dis- tance to the Colorado Institute of Art, the art school I was going to attend.

Sincerely, Lorenzo Chavez December 27th 2021

Bob Ragland (an artist)! Life-size no problem! Amid many other paintings were hundreds of drawings, some pinned up, many in flat files, others framed. Indian artifacts, saddles and blankets were every- where the artwork wasn’t. It was startling. Frankly I was so green; aside from knowing what was going on with American Academy artists, I had never seen any other contemporary artist’s work. My eyes must have been bugging out. I was taking in a lot of paintings and drawings in a completely different style. It really surprised me. It was excellent, I was looking at style and content with solid gold skills. Wow. I couldn’t follow the conversation, I didn’t know what to say, probably couldn’t even muster up a little politeness, but I was impressed… very. The rest of the day was like that, not sure of how to take it all in, I was puzzled and quiet. Ned was tak- ing us around, insisted I meet Jon Zahourek over at his studio, another surprise I wasn’t prepared for. But Ned didn’t seem at all disappointed with my non-re- action. He was talking and laughing with Bill, relaxed and glad to be with his friend. Later we visited a supermarket where Ned bought steaks and other food for dinner, which, when back at his apartment, he cooked up while regaling us with stories and jokes. When it came time to sleep, Ned insisted I take his bed! (I did.) Ned and Bill left in the early morning, I left the key and headed back to Taos. Ned and I became friends. Unfortunately we saw each other infrequently, mostly at gallery shows where we showed jointly in Santa Fe and Denver, and at times when he came to New Mexico to paint. But I remember trading paintings, receiving letters and postcards from his painting trips (I’ve saved many) and I remember many phone calls and visits. He sent me clients and always talked up my work. A lot. Unendingly supportive. He truly is a generous soul and a great friend with a hilariously irreverent sense of humor……and I’m glad to be celebrating his life and work.

Mark Daily

MY FIRST MEETING WITH NED

By the time I moved to Taos in the late 60’s, Ned Jacob was living in Denver. My friend Bill Sharer had talked about him in such glowing terms I was anxious to meet him. Ned and Bill had an upcoming trip to Mexico planned. They were going to meet in Denver, and I agreed to drive Bill up, as it was also my big chance to meet Ned. It was a long drive, but we finally arrived and headed to the old Folklore Center. Ned’s stu- dio was right next door. I remember he was tall, handsome and well-dressed. And friendly! But that’s about all I remember because after that, it was if the sound were turned off. On an easel in center of the studio was a life-size portrait of

IN THE 1960s AND ‘70s, NED WAS THE “voice” of a group of young artists who lived in Denver and New Mexico. He was articulate and could discuss art better than anyone. He was witty and funny, and it was a joy to listen to him. Ned was supportive of his fellow artists and his friends. When I interviewed him for “ Sacred Paint ,” he was honest and forth-coming, even when I asked him questions he would rather not answer. Ned’s legacy is his art—his paintings give me pleasure every day, and even after nearly 50 years, I still discover something new when I look at them--but I will remember him primarily as a friend.

Sandra Dallas

I love you Ned. Thank you for so many years of art and friendship.

- Sandra Dallas

“Sacred Paint” written by Sandra Dallas

subjects; traveling to different countries. Ned actually living among the people, the cultures, the animals, and landscape he painted. We were infatuated and impressed! It was autumn 1991. Shelley and I, along with the Lemon family, were off to Kennebunkport, Maine to paint in plein-air with “Ned Jacob!!!” Straight away you solved the oil painting palette mystery dilemma with the introduction of your “limited”palette. Teach- ing us how to layout, “stir up” and mix four oil paint colors, plus white. The plethora of rich hues, neutral colors and values were immense, pure, and beautiful. You suggested making color charts for further study… We ultimately did and still do!!! Visualizing, exer- cising the mixing capabilities of your tried and true, tested palette is an invaluable process for oil painting in plein-air, or anywhere. Therein began a long history of plein-air painting of the figure, horse, landscape, gesture and figure drawing with our self-appointed mentor…Mr Ned Jacob. This cadre of like minded artists who admired your work and sought your teaching, was growing!!! We requested and followed your teaching skills and talent anytime and anywhere you were forming a workshop. Meeting Marla Brenner, Karen Beal, Beth Kidwell, many of the established artists listed, and so many more from around the country! It was exhilarating. Whether at the Scottsdale Artists School, or Bettina Steinke’s Studio In Santa Fe, New Mexico…Your 5 day “Boot Camp” Figure Drawing Classes are the Quintessential Training Field to bringing LIFE into one’s drawings and paintings! One-to-Three-minute Gesture Poses (Sometimes 30 seconds!) that increase speed of hand and eye obser- vation. Fluid accuracy, movement, and a “quality of life” emerge in the drawing. Rigorous exercise with Results! ALL Worth the All-encompassing Workout of mind, body, heart, and soul that you, Ned, challenge and instill with your students,

Cindy Howell Hodge

“THEREFORE, I REMIND YOU TO STIR UP the Gift of God which is in you…”. So, at the age of 31, He led me to you Ned (Edmund) Jacob. It is fitting that this journey of artistic discovery began with a dinner, a gathering in 1983 at The Compound, a historical structure nestled in the Arts District of Santa Fe on Canyon Road. Seated at a cozy corner table was Shelley Smith, with her grandparents, Fred and Novadine Hogan. Brought together by a mutu- al friend, an engaging, pivotal conversation began sparking a life long friendship, mentorship, and many colorful adventures. In the Early 1990’s, both new to living in Midland, Texas, Shelley and I became avid cohorts of our artistic endeavors, and life pursuit thereof! We felt it imperative to improve as draftsmen through classical life drawing and acquire skill in oil painting (…search- ing for a palette without so many mud mixtures and garish color). At the behest of Shelley’s grandparents (collectors of Southwest Art), we were advised to study with Ned Jacob; Amazing, adept, draftsman of the figure, gesture drawing, plein-air oil painting of light on form in varying

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(Cindy Howell Hodge continued)

in my life. Having said that, it rings true that quality not quantity is what matters...I remember it was in New Mexico. (Shelley and Chris’s home) We were having a conversation about political philosophy if memory serves. After quite a while of this, I remember Ned calmly saying to me, ‘Bo, you are a very serious person. Life is far too serious to take too seriously.’ ” This advice, words of wisdom perhaps, has remained with me ever since. It is something I remind myself of fairly fre- quently. When the anxiety gets quite terrible and I find myself sleepless, Neds words whisper to me again. They remind me that I have to let go, I have to laugh, I can’t be trapped in the seriousness of things because it can seem very serious. All these serious things will quickly make one a prisoner. Especially if we don’t step back and laugh at ourselves. It’s a freeing thing, realizing it’s just too serious to take all that seriously. Thank you for those words Ned. They will not be forgotten.” -Bo Bo asked me for your palette paint colors and guid- ance in mixing last year. He is Painting! Relieving, expressing the seriousness into visual freedom. Ned, You are a scientific artist encyclopedia, a natu- ral, engaging person, with abundant knowledge, and experience in the field, with on sight expertise of painting light on form in nature (…and YES, a spe- cial affinity for Horses!!!). Sharing your passion and love of art, people, the land, the animals, the air we breathe,the light of day, the sky reflecting on waters reflective light, sunlight bouncing color spots of light. Ned, your paintings breathe upon the canvas as if one could reach inside the frame, and touch the tobiano horse, feel the warmth of its shimmering coat, from the radiant sunlight, having translated light to form, and life!!! Ned Jacob, You have imprinted on our lives for the better!!! Thank you for being YOU! For pressing on and giving of your “Life Blood,” that vital spark of humanity. And continuing to be a life-long mentor and friend, whom my four children lovingly call, “Uncle Ned!” You are a treasure to each of our hearts. We love you Ned!!!

“Drawing results” with encouragement, and respect given to both the model and student.

Ned guides us with wisdom and fervor: “Develop Speed Skills!!” “Be demanding of yourself!” “Draw! Draw! Draw! Bang Away!!!” “Rear back from your Subject… Make adjustments… Quickly!!! “Develop confidence of Skill!” After many years of attending Ned’s Workshops in Scottsdale, my daughter Katherine was able to expe- rience training with you. A dream come true for both of us… Beautiful to witness the substantial freedom achieved in her gesture drawings as your student. In Katherine’s words, “At the time I had not been drawing much in years, but Ned quickly helped bring it back to me. He taught me intention and movement matter, and less can be more when it comes to lines. Get rid of the outlines. See the movement and you can achieve it. So much improvement over the last 5 days of intensive Figure drawing, and all thanks to Ned Jacob!!! I learned so much, in the company of many talented artists. Love my Uncle Ned, and so happy after all these years to be your student.” Katherine is still drawing! Always giving of yourself, sharing your passion, abun- dant knowledge and depicting what you love with dignity and respect.The subject of your paintings… the people, the land, the animals, and landscapes breathe in the natural light you paint your subject, with sensitive, intuitively expressive strokes. Shar- ing your knowledge, words of wisdom and expertise, unrivaled talent (there is no one like you, Ned) animated presentations, with historic and hysterical stories of life, friends, and the artist life. You are Iconic, a tough “son of a gun” in the defense of others, the dapper gentleman, humble, and honorable. In conversations around large dinner tables of students, intimate gath- erings in homes with friends, students, family…Your words continue to have impact from one generation to the next.

My son, Bo, reveals this personal truth in his life... “ I have had the privilege of talking with Ned several times

were a bit softer. The group of artists we had would generally compliment each others efforts and would adhere to good drawing & painting. I was an established watercolorist when I met Ned & the“CREW” - never studied color or materials or asked for criticism. Some of the others you might interview will claim Ned had an effect on them - I can’t comment on that. Ned had a studio on 17th street next to the Denver Folklore Center - these were the HIPPIE, FLOWER CHILDREN, FREE LOVE, WOODSTOCK DAYS. Ned’s (studio) had a double (dutch) door and (he) was always looking for new talent. And he was most successful picking up ladies. He was pretty successful & charismatic. Ned drew a lot of followers and wanna be artists. These were the days of Fred Rosenstock, Bill Bishop, Sandra Wilson, Jim Fisher, Jerry Lemon and many others. Later Ned moved his studio to a place over by Wazee before the neighborhood got renovated. It was right next to the Wazee Bar & Supper- club known as a place that was pretty rough & tumble. None of the artist friends could never imagine NED moving to this area. Eventually Ned moved to Maine and I didn’t hear too much after that. - Buffalo Kaplinski

Buffalo Kaplinski

WHEN I FIRST MET NED JACOB I believe it was in Taos. I met Bill Sharer there and remembered him from American Academy Days. Bill was already friends with Ned & Jon Zahourek. The group of artists was centered around 3 three guys - Ned was the most successful and always had cash to lend us when we needed it. Ned used to sell quite a bit to Bill Bishop who was from Kansas & had a gal- lery near Estes Park Colarodo. Sandra Wilson was a key player in Ned’s career I believe. I never painted with Ned only participated in shows he was in. One time I suggested to Ned that we’d go out painting and when I showed up he didn’t have any gear? It was winter and all he did was drink my hot tea. HA! Ned’s ability to draw well was his greatest asset, Jon Zahourek would be second. Jon had more of a hard line approach, Ned’s drawings

I MET NED JACOB IN TAOS NEW MEXICO in the 1960s. We go back quite a long ways. Taos was the place to sell paintings in those days. We painted everywhere. Outside, inside, at the Taos Pueblo and on other reservations. Ned did beautiful drawings of the pueblo people. When Ned decided to pick up and move to Montana he met up with Ace Powell who became his teacher. Ned was color blind so he did not use a lot of color.* He used gouache, conte or charcoal to achieve his strong Plains Indian pieces. When he traveled to Africa he did the same returning with many beautiful drawings and paintings of African men, women and children. Ned moved through life as a loner but always had lots of friends. I never asked him why he didnt marry. That was a personal thing and I respected it. We were good friends. I tried to follow his life but I couldn’t keep track of where he was. He traveled to and lived in a lot of different places. When Ned moved to Maine he invited me to visit. He told me he would take me out to dinner and buy me the biggest lobster I had ever seen. There wasn’t much subject matter that interested me in that part of the country so I never made it. Although Ned and I painted in very different styles we always respected each other’s work. He is a good man. A hell of an artist. And he has influenced many of the artists who are painting today. Thank you Ned, from the bottom of my heart, for being such a good friend. - Ramon Kelley * Ned eventually adopted a limited palette (an approach used by many artists under his tutelage) showed to him by A.D.Greer which resulted in Ned’s exquisite color harmony.

Ramon Kelley

I HAD THE GREAT FORTUNE to have met Ned the year after I got out of high school. Ned was the perfect mentor for a young painter just being introduced to the profession. He not only had a vast knowledge of painting and how a work of art is put together, he had strong opinions about how a painter should conduct his life. He gave me art materials and studio equip- ment. He introduced me to other painters, real artists of renowned reputations, as well as gallery owners and art dealers. He invited me to assist him with the workshops he taught and at one point we even conducted a class together - Ned painting horses from life and I painting the landscape. For over 35 years, I benefited immensely from Ned’s knowledge and guidance, not only in art, but in life in general. I simply would not be the painter, nor the person, I am today if I had not had the privilege and honor to have come under his tutelage. I am, and will remain, forever grateful for Ned’s extensive knowledge and his generosity to share it.

Tim Lawson

- Tim Lawson

NED JACOB HAS INFLUENCED MANY of todays best painters. His very direct paintings and drawings have inspired many artists includ- ing myself. Jacob is a master of the practice of figurative gesture drawing. He is also a master of the equine subject. Jacob’s drawings of horses in motion, drawn from life are truly wonderful. To bring forth, by such humble means as a bit of “carbon” and paper, such beautiful poetry of line and tone is alchemy of the best kind. The immediacy and fluent brushwork of Jacob’s painted works express the vitality of his subject with an admirable economy of means. I’ve known Ned Jacob for many years. We have shared many, many hours of camaraderie. He has been and continues to be, my closest friend in this crazy “business.” I will always be indebted to Ned for his encouragement and friendship.

Robert Lemler

- Robert Lemler

Ned Jacob portrait by Robert Lemler

the Christmas Eve you stayed up with us until 1 AM putting “tab A into slot B” to assemble some Santa toy for the kids. You traveled to Nantucket to be with us for Kent‘s wedding, and you were a groomsmen and Meg‘s wedding. Even though you don’t like to celebrate your own birthday I made sure that you had to endure a big party each year with your friends at our house. Remember the ancient wooden wheelchair that Jerry brought you for your 40th? When you moved from Denver to Maine it was a sad day for all of us. We missed you a lot. Our house became your home for your visits back here every year. We made a couple of visits to you first to see how you turned a church into a studio, and hear about removing that giant bell and get rid of the bat guano. Next time we met you in Kennebunkport for one of your art courses. That’s the first time I met Shelley Smith - such fun we all had. It was always a treat when you came back to Den- ver. You had your own room at our house and you knew you were welcome whenever you wanted and for however long you wanted to stay. You’ve been a beloved member of my family for half a century. My mom loved you like a son. You made her feel young again by teasing her and making her laugh. Remember the Christmas you gave her a bottle of “Joy” perfume She blushed and said it made her feel like a teenager. She was so happy when you sold your car to her. It gave her independence again. She didn’t have to wait for one of us to return so she could use our car! I want to make sure that you know how thankful that I’ve always been for all the wonderful gifts you gave me when you returned from your trips to spend time with native peoples of Africa and Kenya and the Berbers in the Sahara Desert. And the fact that you trusted me with your power of attorney to conduct your business while you lived in England in the 1980s. Most of all I thank you for the Ned Jacob paintings and drawings that fill my walls and surround me with beauty every day of my life. I regret that I haven’t seen you in the years since Jerry died. I can’t imagine my life without you in it. Love to you Ned. Stay well! - Kaye Lemon

Kaye Lemon To You Dear Ned, I am honored to be included in this group of your friends who want to tell you what you have meant to our lives. For me this spans 56 years of loving friendship. After sitting next to you at a drawing session at the Art Students League, Jerry (Lemon) was blown away by your drawings. He said “This kid can really draw.” He wanted me to cook you a big dinner because he said you were surviving out of a peanut butter jar. (You were eight years his junior.) It was 1966 and you were newly arrived in Denver from Taos. You were 27 years old then so I was ex- pecting a long-haired “hippie kid.” Instead, the man who came to dinner was dressed in a starched collar, cable knit sweater and Levi’s with a crease ironed in the legs! You looked like the cover model for GQ Magazine . You were smart, witty and completely enjoyable. When Kent (6) and Amy (5) asked if you were a real artist, you drew funny pictures for them. Your artist friends became ours friends and our friends became yours, and your collectors. Our five kids have called you “Uncle Ned” for all of their lives and now some of the 13 grandkids know you as the guy who painted or drew the art on their walls. You have shared many Thanksgivings, Christmases, birthdays and special occasions with us. I remember

I’LL NEVER FORGET the time spent in a workshop Ned Jacob was teaching at the Saguaro Lake Ranch in Scottsdale... a beautiful buckskin tied to the hitching post, all of us in an arc around the that yellow ochre horse with easels up, painting away, as Ned walked the perimeter speaking his truth about art, life, light, shadow, angles and planes of the horse... I would hold my breath as he walked by offering, not his advice, but an actual to do list. Not unlike a nail being driven into the hoof in order to hold that shoe in place. Before too long, I noted his voice coming from around the backside of the barn, as I stepped back from the easel, there he was parked on the bench, booted feet crossed, the brim of his hat lowered over his eyes, not skipping a beat preaching to us the very words of wisdom needed to do our best at the easel. Each shared thought wrung a truth that I needed to hear as my brush approached the canvas. I knew at that moment I had a long, long, long way to go to even grasp a sliver of his masterful and confident creativity. I found my way to Ned through Lorenzo Chavez and Skip Whitcomb, both of whom have played extremely meaningful parts in my creative journey. I feel a strong tie to history here. A thread weaving through the lineage of art, life and passion. Ned I want you to know that it was a privilege to experience your wit and candor, listen to your passionate stories about those you knew, were inspired by, and what to look out for in this current state of industry that the art world is presently, your generous spirit and extraordinary freedom of expression in charcoal and paint is your legacy. Thank you Ned! -Kim Lordier

Kim Lordier

always and continues to share his knowledge freely.....the embodiment of the art spirit. In the forty plus years that I’ve known him, Ned and I have had countless great adventures..many art museum visits (his evaluation of painting and sculpture is extraordinary...an insightful and totally original way of looking at the work) ....several trips to London...Santa Fe....Nantucket...as well as art events and innumerable gatherings with friends and fellow artists. Each of these events has the custom- ary good cheer, humor, and camaraderie I’ve come to expect from Ned. He has always been an honest critic of my work yet always supportive of my efforts....he recommended my inclusion in a number of reputable galleries and was instrumental in securing my membership in the Chelsea Arts Club in London in the early eighties. He was the Best Man at my wedding in 1983 and has remained a close personal friend as well as a highly regarded fellow artist. He is not only a consummate painter, draftsman, and sculptor, but a gifted teacher, an eloquent speaker and writer, and a genuine wit. Ned is one of the funniest people I’ve ever known....I had men- tioned to him at one point that I was entertaining the idea of mixing my own oil paint and he suggest- ed that I might raise hogs so I could make my own bristle brushes as well! Ned’s fields of interest include not only fine art but also history, literature, music and native Amer- ican, African, Asian, and European cultures....he is extremely well versed in all of the above and can speak with authority on countless subjects. He is widely travelled and has lived in London and Morocco as well the US. His body of work includes paintings and drawings from his many travels as well as equine, figure, portrait, and landscape........all of extraordinary

Michael Lynch I CONSIDER MYSELF EXTREMELY fortunate to count Ned Jacob as one of my dearest friends as well as the single most influential artist I have had the privilege to know. I had the great good fortune of meeting him at the very onset of my career and he was and still is extraordinarily encouraging and generous with his time....sharing invaluable infor- mation on painting methods, materials, framing, art history, other artists of note, and always stressing a reverence for the craft and a respect for the profes- sion. His goal is excellence and honesty in the work and the avoidance of pretense at all cost. Ned has always been a proponent of working from life and would frequently round up a few of the younger artists for a day of painting outdoors and offer much needed criticism and direction....again invaluable instruction from a highly respected art- ist....no student could ask for more. His generosity extended to introducing me and many other young artists to collectors, gallery owners, friends both in the art community and many other disciplines , as well as a vast number books, articles, and photos on the work of great artists past and present. He has

quality....he’s simply one of the best. We are lucky to know such people...... I’m honored to know Ned. MJL

I MET NED JACOB WHEN HE WAS TEACHING through Scottsdale Artists School. Over the course of several years, every Fall was marked by his workshops on sketching the human figure and painting the horse from life. I brought a horse skull for reference and helped with the horse models. Those workshops were immersive experiences. I learned as much during the breaks as during the sessions. Ned would share his lifetime of travel, sketching and painting during those times.

Here are just a few of those precious quotes and concepts from Ned.

“I don’t believe an artist can stay in the studio and say anything about life.”

Karen McLain

“To create big art, you must have big adventures. Seek adventure and exploration and put that into your painting.”

“Confront all the things you tell yourself that you can’t do. Go out and practice.”

“Spend time finding the end of the brush. If your painting isn’t working out, take something out of it rather than add more. Feel free to wipe it off and start over.” Ned has passion, integrity and love for art that inspires. His spirit reminds me of the spirit of a Wild Horse. Although the domestic and wild horse are both beautiful, it is the unhaltered, unbridled, unfenced free and adventurous spirit of the wild horse that resides in Ned. There isn’t any significant amount of time that passes that I don’t think about things I have learned from Ned. I pass those on when I give workshops and know they are carried into other people’s lives. - Karen McLain

NED JACOB’S DRAWINGS WERE the first real artwork I laid eyes on. Before that, my education depended on books of old master drawings, which my mother’s taste for beauty had modestly supplied. When I saw a portrait by Jacob at a local collector’s home, I couldn’t believe what I was seeing. Although I could follow each mark of charcoal as it described the features, somehow, right before my eyes, mere black dust transformed into life itself! The energy contained in this drawing was so much more thrilling than any reproduction in my books. I was spellbound. A great draftsman seemingly does the impossible by making us believe that life exists on a flat surface using nothing but the simple language of drawing. And this, Jacob does startlingly well. Early in life he connected to the magic of drawing that developed into a lifetime of visual exploration. That keenness of observation grew as his appetite to capture the world around him unfolded. The immediacy of drawing allowed him to do the wondrous—suspend life itself in black marks that capture the heartbeat of reality. We, the viewers, feel the energy of life coursing through his sketches of galloping horses, exotic people and the native cultures he immersed himself in. He has, simply put, mastered the shorthand that defines good drafts- manship. Had I not had the privilege of meeting Ned, I would have—and did—know him already through his drawings. His fearless vision and confident hand ensure that his own life force will be readable for generations to come, as Ned’s spirit is in every mark he makes. The force of his personality, intelligence and wit will always be with us through a defining legacy.

Sherrie McGraw

- Sherrie McGraw

I MET NED IN 1992 AT A WORKSHOP in Maine. My husband Steve and I chose that week because it fit our vacation schedule. I confess I did not know about Ned or his work, but I was trying to reignite my nascent desire to make art, after a useless BFA (except for the art history) and years in another profession. Ned, quite simply, changed the course of my life that week. We painted landscapes, we drew from the model, we looked at slides of artist’s work like Levitan, Maynard Dixon and Sorolla, that despite my art history background, I knew nothing about. Ned delivered lessons in brilliant one liners that I still remember today. “It’s warm in there. ” (color temperature). “Corner to corner, it’s an orchestration.” (composi- tion). And I came home knowing that I wanted to do this, and only this, for the rest of my life. Over the next decade we saw a lot of Ned. He visited our home in Florida for several years and then later in New Mexico. He critiqued my work and gave advice on everything from framing to galleries. We painted Ghost Ranch and took a road trip to Utah to see a Maynard Dixon show. Steve helped him move his stuff out of storage in Colorado and to Santa Fe. He painted Steve on his horse Cochise. And he introduced us to the late, great Hollis Williford, who became a friend and mentor. For all of this, and much more, I am forever grateful. - Deborah Paris

Deborah Paris

paint on old window shades as canvases. It worked. Big days came when the boxes from Dick Blick would arrive. Canvas, stretcher bars, paint, drawing materials would fuel newly charged ambition and creativity. In the summer months – the front of the building would be painted and spruced up for the tourist trade, travelers coming east/west on Hwy 2. My folks eked out a living building a collector base. Ned was drawing/painting and selling pictures as well. He would say the art of that period was no good. However there are people today who still treasure some of those pieces. The folks had a pretty good art library and stacks of American artist magazines. My dad had a complete set of the “Famous Artist Correspondence Course” founded by Norman Rockwell and Harold von Schmidt. Ned’s horizon was always set on achieving excellence in his art. He studied all of these. Ned moved to and settled in Taos. He became part of the “Taos Bunch” all young tough talented characters. The ones I remember are; Malcolm Alexander, Eugene Dobos, Ned Jacob, Clarence McGrath, Buffalo Kalpinsky, Bill Sharer and Jon Zahourek. He rented the old Ufer Studio, next-door in another studio lived RC Gorman. While in Taos he started the Heartwood Founda- tion, a rambling place of bungalos divided into artist studios. All during this era he would write my dad who fell on hard times (1962–1969) Encouraging him through loss and keeping in touch. After Taos, Santa Fe was where Bettina Steinke and Don Blair took him under their generous wings. Ned had expanded his family. Later he put his own personal career on hold, moved to Santa Fe and took care of both of them in their old age to the end. There’s no one else I know that has done this.

Dave Powell

I HAVE KNOWN NED AS LONG AS I CAN remember. Born in 1954 I was four or five when he became part of our family. Just previosly Ned had been working in Glacier Park as a cowboy/Wrangler for “BarX6”at that time the largest saddlehorse guide concessions in the world. The person who drove Ned’s spirit to Montana was Winold Riess. He wanted to meet the Blackfeet that Riess painted. He did. He drew and painted the same people Riess painted. My parents were both artists. Ned and my folks immediately became friends. He lived with us as a family. The place was a hive of creativity. Making artwork to sell. Ace, Nancy and Ned, each with their drawing/painting set ups - every day paintings were made. As a little kids we would wander in and out watching the process from corner to corner. It was working artists experimenting and doing. There were no galleries in Montana and very few art stores or frame shops. So art materials were prized. Ned would draw on brown paper bags and

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(Dave Powell continue)

By 1973 Ned was internationally known and lived in Denver. A world traveler and painter he always stayed in touch with our family. On one of his trips back to see us he presented me a brand new french easel. I was 18 years old and his present gave me the keys to my art life. It changed me forever. Many times on the Artist journey there are often ups and downs. Countless times Ned would help me with art supplies, money and encouragement. I had the privilege to live in his large spacious studio in Denver for a year in 1975-1976. He introduced me to all the artists and galleries of the day. All first class and established. Staying in Denver, or later visiting Maine, Ned’s studio was an open shop for me, mountains of drawings and walls full of books, he generously let me dive in, reading, studying and looking at good art. Ned has helped me set the course for all that I’ve been able to do - he showed me the path. Ned gave me opportunities to live in Santa Fe and work with many fine artists who consider them- selves students as well. I learned so much from him and the life drawing classes with which he lined me up. All the artists, including Ned, took them. No egos nor any hierarchy, just objective study of the figure. He gave me introductions to Bob Lougheed, Bettina Steinke and Don Blair. They were mentors for him. Until they died I was in the circle called friendship. They treated me as a colleague as well as a student.

Day after day tours would stop for free maps and to use the bathroom. Some would steal the soap and toilet paper. Bored and fed up with no sales Ned and my mother Nancy found a rubbish heap in the backyard by the burn barrel, and in it the old Ma- sonite cut square that Ace used for an oil palette. It was caked and smeared with built up paint. It had been there, thrown out for quite some time. Ned and Nancy grabbed it up and sawed into a 16”x 20” dimension to fit in an old picture frame. They wired it up. Neither one wanted to sign it which would risk incurring the wrath of Ace Powell over the joke. Ned said “I know a Hai Lai Player from Florida named Salvador (Sal) Salamende. So the palette got signed “Salvador Salamende.” They hung it in the front gallery and sold it for $40 the very next day. Needless to say Ned and Nancy laughed and enjoyed Ace Powell getting his nose out of joint. That made it funnier still. His most expensive painting in those times was $200. Memories roll through my mind like a movie reel - too amazing for most to believe. Locations in Mexico, Montana, the racetrack at Saratoga, county fairs at Fryeburg, New York, quiet evening dinners with Tjark Reiss and his lovely wife Renata, the open access to the studio Winold Riess used to paint and draw those wonderful portraits! The summer camp of the Blackfeet in July/August in Browning, Montana. Ned knew all the families and which of the 200 teepees belonged to them. The old women would get into arguments over who’s camp he would stay in. He always had a place to camp. Ned’s friendships with these people were deep. “ Sacred Paint ”is the name given to him by the Blackfeet tribe. That’s what my life has been. Ned opened the door into his art world for a lanky white kid from Hungry Horse, Montana. I will never forget this, a generous and unique man - there’s only one Ned Jacob. I couldn’t be a more lucky guy than to be Ned’s friend and brother. - Dave Powell

I have many stories, too many to write. Here’s one that shows Ned’s terrific sense of humor…

In the 1950s and 60s realistic art and especially western art was considered by the art pundits of New York and LA as “kitch” or “imitation of nature.” This was foisted on the wealthy and literary mavens of art by artists who couldn’t draw and unscrupulous dealers and galleries. So the culture was stacked against the Ace Powell Gallery in Hungry Horse, Montana.

MY FIRST ENCOUNTER WITH Ned was several decades ago when I signed up for a figure workshop he taught here in Taos. Half of the day was quick gesture drawings and half was devoted to painting. I especial- ly loved the concentration on quick drawings and after the workshop that led to the formation of a sketch group with several other artists in the area who also attended. We

Laura Robb

met once a week, all day long (mostly in my studio) for close to 10 years. That says more about Ned’s ability to teach and inspire than any words I could come up with might convey. Although the influence in my work today might not be as apparent and I generally only depict figures or animals as part of a still life, the timeless lessons of gesture drawing remain something I’m committed to -- working from life and eliminating the unessential so that the essential can speak. My gratitude and appreciation to you Ned, for your excellence at what you do and your unique voice in the art world. You have uplifted us all.

Oh, and thanks too, for your wicked sense of humor. - Laura Robb

I WAS TOLD YEARS AGO, “You gotta take a class from Ned Jacob!” I took more than one class! Ned is generous and passionate about his work and passionate about encouraging other artists. He set the bar defining work ethic and integrity. I am grateful to know Ned Jacob. - Peggy Kroll Roberts

Peggy Kroll Roberts

ABOUT MY FRIEND, NED! I first met him as a teacher, introduced to me by Bob Lemler. At the time I was an illustrator and Ned introduced me to the dignity of art. His stories always seem to lead to personal battles we all experience as artists in life and art. And that’s it; Ned’s sharing and openness instilled a sense of dignity and inclusiveness that ‘we’ are worthy. Ned never holds back his opinion and sharing his stories of struggles in our art world always sounds a familiar and welcome note. Thank you Ned. - Ray Roberts

Ray Roberts

told him he could stay there and I would let him know when I planned to return to be in residence.

Weeks, months, a year, two and more passed; I was completely embroiled in my career and Ned re- mained at the farm. He eventually found a place of his own close by in an old church, called me and said he was driving back to Denver before he moved into his new Maine studio. I asked him if he would bring back an old trunk for me that held my Grandmother’s blankets and he said he would and would leave it with Ken Bunn where he was stay- ing. Several years passed, I forgot about the trunk until Ken and Mary came to visit me in Fort Collins and brought the trunk. More time passed before I opened it. When I did, I was overwhelmed by a Ned Jacob painting he had done for me and left in the trunk as a gift. It was a wonderful painting of my neighbors’s tractor titled “Stanley’s Old Deere.” Inscribed on the back with the following: “To Sandy Scott with deepest gratitude for the opportunity to share the beauty of French Hill. Your extraordinary generosity will long be remem- bered. Thank you. Warmest regards, Ned J.” I immediately contacted him through Ken and explained the trunk had just been returned to me and thanked him profusely for the painting. We chatted and he told me he had left some drawings at my place that he had discarded and he adamantly wanted to be sure they would be de- stroyed and never see the light of day. I told him I had sold the farm, had found them when I moved, had put them in a manila envelope and assured him I would comply with his wishes to discard them which I proceeded to do. - Sandy Scott

Sandy Scott

IN THE EARLY 1980S I was having dinner at the historic Taos Inn with the artist Joan Potter and a very handsome man walked up to our table and said I’m Ned Jacob, “Remember me?” Yes, I did remember Ned . . . who could forget him? I met him through our mutual friend, Ken Bunn a few years earlier in Denver and had recently purchased a wonderful conte drawing of his from Driscol Gallery in Denver. He sat down with us, ordered a refreshment and said he was on his way to Maine. I don’t remember why he said he was going but I told him I owned a farm in Maine north of Skowhegan on French Hill near the Kennebec River. I had recently built a loft studio and living quarters with kitchen, bath, etc. attached to the upstairs of the 150 year old farm- house and told him he was welcome to use it if his travels took him to that part of Maine. He took me up on it and I removed the keys to the place from my keyring and handed them to him. A few weeks later, he called me, said he loved the place and I