

A quiet revolutionary of American modernism, he translated the stark geometry of the New Mexico desert into a vibrant, cubist-inspired vision.
Andrew Dasburg's artistic journey was one of constant evolution, from the gritty realism of New York's Ashcan School to the avant-garde salons of Paris. He returned to America as a passionate advocate for European modernism, particularly Cubism, becoming a vital bridge between continents. A trip to New Mexico in 1918 proved transformative; the high desert light and angular landscapes became his lifelong muse. Settling in Taos, he moved away from pure abstraction, developing a singular style that fractured the adobe villages and mesas into planes of luminous color. While others in the Taos Society painted romanticized scenes, Dasburg deconstructed and rebuilt them with a modernist's eye. His work, often overshadowed by flashier contemporaries, provided a crucial intellectual backbone to Southwestern art, proving that the local could speak in a thoroughly modern, international language.
1883–1900
Came of age during World War I. Disillusioned by the carnage, they rejected the certainties of the Victorian era and built modernism from the wreckage — in art, literature, and politics.
Andrew was born in 1887, placing them squarely in The Lost Generation. The events that shaped this generation — world wars, depression, and rapid industrialization — shaped the world they entered and the choices available to them.
The biggest hits of 1887
The world at every milestone
Boxer Rebellion in China
Wright brothers achieve first powered flight
Einstein publishes the theory of special relativity
Ford Model T goes into production
Russian Revolution overthrows the tsar; US enters WWI
Lindbergh flies solo across the Atlantic; The Jazz Singer premieres
Hindenburg disaster; Golden Gate Bridge opens
India gains independence; the Dead Sea Scrolls found
Sputnik launches the Space Age
Summer of Love in San Francisco; first Super Bowl
Iran hostage crisis begins; Three Mile Island accident
He was partially paralyzed by polio as a child and taught himself to draw during his recovery.
He was a close friend and correspondent of art patron Mabel Dodge Luhan, a key figure in the Taos art colony.
Dasburg was married to sculptor Grace Mott Johnson.
“The structure of the land is its living geometry.”