For a Future Painting of Glen Eyrie, Colorado

 I saw the following painting by my art hero, Thomas Moran, when we lived in Colorado Springs, CO during the '90s:

The title is Glen Eyrie, Garden of the Gods. These are two separate and adjacent properties in Colorado Springs, and I always wanted to do a painting like this.

Trouble is: Glen Eyrie is privately owned by the Navigators, a Christian parachurch organization and book publisher. I never had a chance to go there looking for the site that Moran painted.

Over the years, I've been looking online for photos that might help me make a similar painting to Moran's. And I FINALLY found it on Google Maps!!

Here is the pic:

As you can see, it appears to be close to the spot where Moran made his sketches and watercolor drawings. The spire is called Echo Rock and is actually a short fin of sandstone that we're seeing on edge. Moran's painting has a few changes from reality, but that gives ME a chance to paint a scene similar to his while making it truly my own.

Looks like Moran had to do some significant climbing to get to this spot -- I never could have done that!!

Hope to start on it soon! Wish me luck/pray for me!

Mark Junge

www.MarkJunge.com or www.SouthwestSpaces.com

Autumn Equinox -- at Last!!

Autumnal equinox finally arrived today (although the day's almost over as I write this). Autumn is when my world turns into a fantasy land -- fall colors, Halloween, Thanksgiving, and Christmas. (Once Christmas ends, the magic seems to end, too, and the time that follows is kind of a downer).

I thought I'd celebrate the beginning of this special time by posting images of some autumn paintings by artists I greatly admire.

View of La Crescenza                             Claude Lorraine
Looks like the beginnings of fall in Rome

Nutting                                                    Thomas Moran

Autumn on the Wissahickon                     Thomas Moran

Autumn                                                     Thomas Moran

The Autumnal Woods                  Thomas Moran

Autumn                                                Frederick Edwin Church

Autumn Woods                                                  Albert Bierstadt

Cresheim Glen, Wissahickon, Autumn                      Thomas Moran

Mark Junge

www.MarkJunge.com or www.SouthwestSpaces.com
 

Glen Eyrie, Garden of the Gods, Colorado

Glen Eyrie, Garden of the Gods, Colorado is both the title of this blog post and, more importantly, the title of a painting by my #1 art hero, 19th century artist Thomas Moran.

Glen Eyrie, Garden of the Gods, Colorado

The painting is an impressive 36" x 50" (91cm x 127cm).

I had several opportunities to see it when we lived in Colorado Springs, CO in the 1990s. The piece was acquired by someone who made a deal with the city to make improvements in Garden of the Gods park in exchange for exclusive rights to operate a gift / souvenir shop.

Glen Eyrie is privately-owned and includes the view in the artwork. The Garden of the Gods appears in the distance, with Cheyenne Mountain forming the backdrop. (I believe the spire is called Echo Rock).

The painting was displayed in a couple of sites in Colorado Springs, and I made it a point to visit this gem as often as I could in April, 1999. I fell in love with the painting immediately, and the effect hasn't worn off after all these years.

Echo Rock, Glen Eyrie, Colorado Springs, Colorado

Then, just recently, I stumbled across a photo of the area, shown above. Comparing this image with the painting, Moran essentially rendered the scene accurately, but with a few changes. Ol' Tom also added his magical lighting and colors, making the end product irresistible to guys like me!

I expect it's just a matter of time before I paint my own version of this special place -- hopefully without making it look like I totally ripped off Moran's treatment of Glen Eyrie. But it'll be similar, I'm sure.

Mark Junge
www.SouthwestSpaces.com
www.MarkJunge.com

 

Arches and Feathers

Arches and Feathers is a reworking of a painting I "finished" in 2007. As is sometimes the case, it seemed like the painting needed a little tweaking...and finally, I stripped the removable varnish on it and set about to do some tweaking. (And repair a little damage that stripping the varnish caused).

And I think I finally have what I want!

Arches and Feathers                                 24" x 36"

The original 2007 work was the second in a series of three paintings I made of this formation in Arches National Park, UT. Balanced Rock appears in the distance on the left. This view was inspired by a painting by living artist D. Michael McCarthy, although this is not a copy of his artwork. (I wish I could have purchased his painting when I saw it in a gallery in Scottsdale, AZ!) I'd say we were both inspired by the magnificent work of the 19th century artist, Thomas Moran.

I included a redtail hawk turning and banking to its left. It's in shadow and appears dark (almost black). Placing it against the brightly-lit rocks created a focal point that draws the eye into the composition.

This little guy wasn't in the first version of the painting -- I think s/he adds a little life and even more mystery to the scene.

Besides, I read of another landscape artist who said he was told by an Indian friend that seeing hawks brings good luck and, if one appears in a painting, it brings good luck in sales! I hope that's true!

I still need to apply the finishing coats of varnish. I hope this will be a good attention-getter at a show I'll be doing in November (more on this later) and that the hawk will bring some luck, too!

SouthwestSpaces.com
MarkJunge.com

Thoughts on Some Gallery Artists' Receptions

Last night I attended three art gallery receptions in Palm Springs, CA. One of those was for an artist I actually know; the other two I stumbled upon but decided to check 'em out.

The artist is Carrie Graber (www.CarrieGraber.com). She paints architectural details and interiors, often with a female in the scene who looks an awful lot like her. ☺

This is one of Carrie's paintings. It's realistic, yet she somehow achieved a look that would allow the piece to fit into contemporary homes or offices (unlike MY paintings, which are modeled after 19th century -- or older -- artwork). Most of her paintings seem very light and airy, even this nighttime scene. Her work is detailed but uncluttered which I believe is partly what gives her paintings that open look. They're quite pleasing to look at and would fit anywhere.

I noticed Carrie framed her paintings in a simple, natural-wood (pine? maple? ??) tone -- not a wide molding at all. I also noticed artwork in the other galleries I visited were framed the same way. And ANOTHER artist I know and like, Mary-Austin Klein (www.maryaustinklein.com), uses similar frames for HER pieces!

Clouds Over East Mojave             Mary-Austin Klein

(I love the zen-like feeling of Mary-Austin's art -- realistic, almost photographic; yet, uncluttered, lots of open space as with Carrie's work).

You can see the kind of molding I'm talking about here on Mary-Austin's paintings:

Again -- very simple, minimal blonde-colored wood molding. The grain is visible when you see it up-close.

All this made me think (OMG -- he's thinking!): is this a trend in framing contemporary art? Is this something I need to consider doing? And -- do I need to think about simplifying my painting and go for "zen realism"?

Don't know, don't know. I still love the works of the 19th century American Hudson River School painters and the drama they often portrayed. But I like Carrie's and Mary-Austin's look, too. And I'll bet they sell better in today's art-buying taste!

Some things I have to think about. (I should attend more gallery openings, too!)

Spiders and Snakes

I'll be the first to admit: I don't like spiders! I'm a total arachnophobe -- and it doesn't bother me to say that. I hate their webs -- the kind one can walk into -- even more!! Thankfully, we don't get those species here in the desert.

I remember seeing a floral painting by a Dutch artist at the Getty Center in Los Angeles -- beautifully-rendered flower arrangement ... with a small web in the upper corner of the image with a spider on the web, and another hanging by a thread nearby. The spiders and web ruined the painting, as far as I'm concerned! If it were for sale and I had the money, I wouldn't buy that painting.

As you might guess, I've never painted any spiders in my works, and I never will.

By that same token, I've never painted any snakes either. Now, I'm NOT a snake-o-phobe. I rather like them, although I often feel badly for their victims. But I don't respond to the sight of a snake as I do a spider.

However, some people hate snakes the way I hate spiders. In fact, "spiders and snakes" is a phrase that places the critters together. Both are pretty creepy in people's minds.

But that's why I don't paint snakes. I would not want to ruin the viewing experience (especially for a potential customer) by placing a snake in the image area.

Nineteenth-century artist Thomas Moran (my #1 artist hero) created a large work showing the Grand Canyon in Arizona. In it, if you look carefully enough, is a small rattlesnake. Perhaps Moran was trying to tell us of both the beauty AND the dangers of the Wild West. (I never saw any spiders in the composition -- I assume TM didn't put any into the painting. Good decision, Tom!)

Well, maybe someday I'll do something like that. I know there are people who like snakes, even rattlesnakes (providing the rattlers don't get too close). I'm curious to know if such a painting would sell readily to snake lovers! And it would be a piece that I'd love to hang on my wall in case the painting didn't sell.

There would be any spiders in the artwork, however. ☺

Mount of the Holy Cross

I've heard some people express disbelief at paintings they had seen that featured a mountain with a cross etched in the rock. I'd hear comments like "No way...how cornball...that would never happen in nature."

Y'know what? They're wrong! There IS such a mountain!

The mountain is the Mount of the Holy Cross. It's in Colorado, east and slightly south of Vail right off of the Interstate 70. There's even a turnoff for it. I've never been there myself (one of those things I always meant to do when we lived in Colorado), but others have told me there's a parking lot for it, and one has to hike in a little on a trail before it comes into view.

The Mount of the Holy Cross has been known to white explorers and artists since the 19th century. Since I don't have photos of my own, I'd like to share some historical photos so I won't violate any living photographers' copyrights.

 Here are two images by 19th century photographer William Henry Jackson. When there's just the right amount of snow, the cross stands in sharp contrast to the rock around it.










To the left is a stereoscopic (3D) photo of the Mount. If you know how to look at stereo pictures without a viewer (your eyes must be looking straight ahead as though staring into the distance, not crossed as when you look at things up close), you'll see the rock outcroppings at the bottom seem to push the Mount itself back away from you.









Now we're looking at some paintings by my favorite 19th century artist, Thomas Moran. I never read how many times he painted the Mount of the Holy Cross, but here are four examples of his work -- all different, but equally impressive!

 

So, yes, there ARE mountains with crosses on them!

Arches

Arches National Park has gotta be one of my most favorite places on earth. The reddish sandstone, the spires and -- of course -- the many arches gives the land an eerie, surreal sense of the very rocks being alive.

That's why I saw a painting of a scene in the Park that showed unearthly colors and dramatic lighting that added to the mystery of this place. The painting was entitled, simply, Arches and was executed by a living artist I greatly admire, D. Michael McCarthy. He and I are both inspired by the works of 19th century painter, Thomas Moran:

When I saw Michael's Arches painting in a gallery window, all I could do was stop in my tracks and stare at it...for I don't remember how long. This was one of those pieces that changed my life...or at least, changed how I wanted to portray the world in my art from that time forward. Seeing reproductions of Moran's work was one thing. Experiencing Michael's work was quite another.

So, my version of Arches was inspired by, but is not a copy of, Michael's artwork. I can't tell if my piece affects others the way Michael's painting affected me. I hope so.

I'd like to think I made the world just a little better by painting this:

Another Fall Painting

This is a painting I completed (and reworked) years ago. I'm sure if I were to do another version of it (which I'll probably do someday), I could make it even better using the skills I have evolved over the years.

My piece was inspired by a painting by my favorite 19th century artist, Thomas Moran. When I attended a retrospective of his work in (I think) 1998. The title is Cresheim Glen, Wissahickon, Autumn. Out of the many wonderful paintings in the exhibit, this is the one that transfixed me the most.

My work is, of course, not as nice as the painting that inspired it. However, this is an example of how I sometimes try to capture the feeling of a master's artwork without copying it directly. I'm sure I'll try again to glorify the beauty of the northeastern part of the US during fall, especially since we never see anything like this in the desert!

Homage to a Hero

Well, a painting hero of mine, anyway!

Nineteenth century American artist Thomas Moran created many paintings showing Toll Gate Rock and other formations in what is now Green River, WY. I had an opportunity to visit the area myself last year, and the attached image shows MY rendering of Green River.

Like Moran, I didn't make an exact copy of what the place looks like. Each of the formations exists and is accurate, but not all of the formations are present in the same view. But, also like Moran, sometimes going for the feel and the spirit of a site is more important than a mechanically-accurate approach. In this case, I agreed with Moran.

It's a special place, and I hope to do more paintings of it as well as go there again (hopefully in the afternoon next time-- the lighting would have been nicer then) so I can do even more paintings!

Disaster Recovery Efforts

As I mentioned in my last post, I was having trouble painting in the sky in my homage to Thomas Moran and his series of paintings entitled (with some variation) "Cliffs of the Green River."

I've painted in a new sky and a different set of clouds -- perhaps a type that lends itself more to a smaller piece like this one -- and I'm much happier with the sky.

So on I go to the other elements of the landscape. Obviously, it won't be ready to post for a while yet, so here's version #2 of Moran's "Cliffs of the Green River."

A Disaster

In my last post, I briefly mentioned artwork in progress can turn out to be disasters.

Yesterday was a day for disasterous painting. It's a piece I just started. I finished the sketch of the important elements (Toll Gate Rock and the other cliffs in Green River, WY), painted in the blue sky, and THEN!!!--I started on the clouds.

It would have been OK if I would have known when to stop, but I kept re-working and re-working the clouds and ended up with something truly hideous. So I ended up painting them out and trying again until after midnight last night. This time, the clouds were even worse!!

Since the painting is on panel, this morning I did some sanding, trying to reduce the thickness of the paint film and the numerous glazes I had applied by this time. And I discovered using an electric sander on acrylic paint doesn't work the way I was expecting. The friction of the sandpaper produces enough heat to melt blobs of sanded-off dry paint into the remaining paint film. I had to hand-sand those spots until the blobs were gone and I had a basically smooth surface again. Si-i-g-g-h-h-h...

Well, in the meantime, I'm preparing the surface again, and by tomorrow, I should be on my way. So for now, I've posted one of 19th century artist Thomas Moran's many paintings of the cliffs of the Green River. My painting will be similar, but it'll definitely be my own. (For one, I was there in the morning, so my light will come from the right. Moran's afternoon light comes from the left).