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MELINDA LITTLEJOHN




Lusitano Grey

12" x 12" oil on clayboard
$3600



Bowl with Rock

10" x 10" oil on clayboard
$2500



Anazazi with Lanterns

9" x 12" oil on clayboard
SOLD


Melinda Littlejohn was raised on quarter horse ranches in New Mexico and Northern Oklahoma.

Surrounded at an early age by the artists and writers who frequented her maternal family's home, the Taos Inn, she naturally gravitated to a career as a fine art painter and sculptor.

Her Aunt, Helen Martin, founded the historic Taos Inn and was one of the first early day woman artists.  Helen, along with her husband, Dr. T.P. "Doc" Martin, hosted the inaugural meeting of a group of Taos painters--including Bert Geer Phillips, Eanger Irving Couse and Joseph Henry Sharp--and thus the Taos Society of Artists was born in their home.

As a young child Melinda sketched and painted with the various fine artists that frequented the salon of Helen, as well as that of her mother, a well-known art collector and patron of the five historical Taos Museums.

Melinda spent her childhood summers painting and showing five-gated Saddlebreds and Quarter Horses on the western show circuit. She studied sculpture in Paris after attending Interlochen Arts Academy in Traverse City, Michigan.  After developing an interest in animation and film graphics she graduated from California Institute of Arts (Cal Arts) with a degree in film and the fine arts. Melinda moved to her home in Malibu, CA began working in the animation film industry, and raised her family.

In 2010 she moved back to New Mexico in order to paint full time in her Taos studio.

Article From Cowboys & Indians Magazine, November/December 2016 Issue:

Bodegón Still Life by Melinda Littlejohn

by Wendy Wilkinson

The painter's interest in shadows and technique evolved into her 17th-century Spanish bodegón still-life paintings.

For painter Melinda Littlejohn, beauty is found in the shadows. Shadow requires both light and dark, and it’s in that interplay that she thrives. Her most recent work features an earthy chiaroscuro approach to still lifes of Native American pottery. Horses are another of her favorite themes. Pottery and horses, light and shadow — if the subject matter and treatment bring to mind New Mexico, there’s a reason for that.

Raised on quarter horse ranches in New Mexico and northern Oklahoma, the Taos-based artist spent her childhood summers painting and showing five-gaited American Saddlebreds and American Quarter Horses on the Western show circuit. Art came with her heritage as much as horses did: “My Aunt Helen founded the Taos Inn in Taos, New Mexico, and was also an early batik artist, so I was influenced by her earth tones and the textures that she used,” Littlejohn says. “I would spend my summers with her until she died, sketching and painting with the various fine artists that frequented the salon. That culture was all around me, and it really influenced my work.”

Her maternal aunt, Helen Campbell Martin, had married T.P. “Doc” Martin in 1917. Their property — the old Taos adobe that he officed out of for his far-ranging “horse and buggy” medical practice and that Helen would turn into a hotel after Doc’s death — hosted the formative meeting of what would become the Taos Society of Artists. The Martins’ home would become fabled for welcoming the likes of founding society artists Bert Geer Phillips, Eanger Irving Couse, and Joseph Henry Sharp, as well as other celebs such as Greta Garbo, D.H. Lawrence, and Pawnee Bill. That milieu — along with the influence of Littlejohn’s own mother, a respected art collector and patron of the five historical Taos museums — set the young artist on a creative course to become a painter and sculptor.

After studying at Interlochen Arts Academy outside Traverse City, Michigan, Littlejohn moved to Paris to study sculpture. She later developed an interest in animation and film graphics and eventually graduated from the California Institute of the Arts with a degree in film and the fine arts. Moving to Malibu, California, she married into Hollywood royalty (her father-in-law, Bill Littlejohn, was one of the film industry’s top animators), raised a family, and worked in the animation film industry.

She began her fine art career as a minimal abstractionist, but Littlejohn eventually gravitated to the style of 17th-century Spanish bodegón still-life paintings, which featured everyday objects typically arranged on a stone slab. For Littlejohn, the simple style is well-suited to her use of “light and shadow to achieve a certain ambience.”

She found ambience in abundance six years ago when she moved back to Taos and was again inspired by New Mexico’s high-contrast lights and darks. Horses still figure into the mix: In addition to recently working with actress Katharine Ross on a life-size Kiger Mustang sculpture to benefit Return to Freedom American Wild Horse Sanctuary, Littlejohn is creating a series of paintings of Gypsy Vanner horses. But immersing herself in the creative culture that fueled her earliest imagination and making paintings of pottery are how she seems to derive her greatest joy and peace.

Her starkly beautiful and quietly hypnotic still lifes of American Indian pottery convey and even bestow an everyday state of grace. “There is a sense of calmness and the nocturnal in the things that I paint,” Littlejohn says. “I take a visual journey with my pottery paintings, exploring the cracks and subtle shadows to create a mood and life of their own. When it works, the piece takes on its own veneer. Now my work has everything to do with my past life and history, using light and dark and what is around me.”