A third-generation Pueblo artist who shattered geometric conventions with bold, flowing abstractions drawn from her ancestral legacy.
Margarete Bagshaw was born into a dynasty of Pueblo artists—her mother was potter Grace Medicine Flower, and her grandmother was the foundational potter Lucy Lewis. Rather than replicate the precise black-on-black pottery of her forebears, Bagshaw forged a radical new path on canvas. Her paintings are explosions of color and dynamic, organic form, translating the spiritual and artistic vocabulary of Santa Clara Pueblo into a vibrant, contemporary visual language. She moved from New Mexico to New Mexico, establishing a gallery in Santa Fe that became a hub for Native art. Bagshaw's work represents a fearless evolution of tradition, proving that cultural heritage could be a springboard for profound and personal innovation.
1946–1964
The largest generation in history at the time. Shaped by postwar prosperity, the Vietnam War, the sexual revolution, and Watergate. They questioned every institution their parents built — then ran them.
Margarete was born in 1964, placing them squarely in the Baby Boomers. The events that shaped this generation — postwar prosperity, civil rights, Vietnam, and the counterculture — shaped the world they entered and the choices available to them.
The biggest hits of 1964
#1 Movie
Mary Poppins
Best Picture
My Fair Lady
#1 TV Show
Bonanza
The world at every milestone
Civil Rights Act signed; Beatles arrive in America
Apollo 11: humans walk on the Moon; Woodstock festival
Star Wars premieres; Elvis dies
John Lennon shot and killed in New York
Michael Jackson releases Thriller
Live Aid concerts raise money for Ethiopian famine
Nelson Mandela elected president of South Africa
Indian Ocean tsunami kills over 230,000
Russia annexes Crimea; Ebola outbreak in West Africa
Paris climate agreement; same-sex marriage legalized in the US
She initially pursued a career in music and theater before fully committing to visual art.
Bagshaw was a direct descendant of the Tewa people of the Santa Clara Pueblo.
She often used a palette knife instead of brushes to create the textured, layered effects in her paintings.
“My art is a continuation of my family's story, but it is my own voice on the canvas.”