In Santa Fe (aka Architectural Study)
1926
8 7/8" x 7 7/8"
Framed: 20.5" x 19.75"
, etching
Region: New Mexico
Signed bottom center
Partridge’s work is distinguished by his highly articulate line work in which forms are built up from dense accumulations of fine etching with little or no reliance on drypoint or other techniques to build up darker areas. This approach gives his work a distinctive open, clean look that makes his prints immediately identifiable.

Partridge’s view of the Museum of Fine Arts in Santa Fe was created in 1926, nine years after the institution opened. A close examination will reveal that the scene is reversed, indicating that Partridge did not flip the orientation of his sketch when etching it to the plate. This resulted in a mirror image version of the facade of the familiar building.

About the Artist
(1888 - 1984)
A native of Washington state, Roi Partridge’s family moved to Seattle when he was a child.

He began showing his work in Seattle as part of an avant garde artist’s collective called ‘The Triad.’ In his early 20s Partridge moved to New York to study at the National Academy of Design, followed by an extended European sojourn during which he studied etching in Munich and worked as a printmaker in Paris.

Partridge returned to America just before the outbreak of the First World War, settling in California. He lived in San Francisco and taught at Mills College in Oakland. He was married to the noted photographer Imogen Cunningham from 1915 to 1934.

Partridge’s work is distinguished by his highly articulate line work in which forms are built up from dense accumulations of fine etching with little or no reliance on drypoint or other techniques to build up darker areas. This approach gives his work a distinctive open, clean look that makes his prints immediately identifiable.

Partridge’s view of the Museum of Fine Arts in Santa Fe was created in 1926, nine years after the institution opened. A close examination will reveal that the scene is reversed, indicating that Partridge did not flip the orientation of his sketch when etching it to the plate. This resulted in a mirror image version of the facade of the familiar building.