More Inspiration!

As a landscape painter, I love it when I stumble across artworks that I've never seen before that manage to take my breath away once I "discover" them.

Curescanti Needle, Colorado
George Frederick Bensell, ca. 1875

This is one such painting. I had Googled images of Colorado paintings, and this is one of the items that came up. Curescanti Needle is located in the Black Canyon of the Gunnison (one of the country's National Parks) near Montrose, Colorado. I suspect the artist took some liberties with how the place actually looked, but some 19th century painters did that -- they were more interested in capturing the mood of a place than re-creating every rock and tree that exists.

OK, it isn't a desert painting, but I still love it, and I DO paint Colorado scenes on occasion (in fact, I'm working on a Colorado painting now). The size is 66" x 48"/168cm x 122cm and is in a private collection. Lucky peeps!!

Very inspiring!!

Mojave Nocturne

Mojave Nocturne is the latest painting in my ongoing (never-ending?) series of desert paintings. The size is 14" x 11" / 35cm x 28cm, acrylic on panel:

 

It depicts Joshua Tree National Park at night as a full moon rises and shines through the clouds. I've always loved being in the desert under a full moon: the bare ground lights up more than grass or shrub-covered landscapes do, and the place takes on a special magic that must be experienced. And the Joshua trees appear as apparitions from a Halloween night, with many ghostly fingers and arms reaching out to grab you!

Still, in spite of those thoughts, the desert by moonlight isn't at all scary to me (unless one were to step on a rattlesnake in the darkness, but there are no snakes in this painting). The moon, the glowing clouds (when present) and the shapes against a starry sky have a beauty all their own.

Can you tell I love the desert?

Confusers

Sometimes I think "confuser" is a more accurate name for this gizmo than "computer."

I was having some problems with the thing and was concerned something really terrible happened -- hard drive crash or something -- and while most of my stuff is backed up, not ALL of it was.

So I took the confuser to a confuser repair place. The technician found the dial-up/fax modem (which I never used) was bad and removed it. He also uninstalled some extra anti-virus software which, I think, came with the confuser when I bought it in 2008.

Everything seemed fine, although I had a bit of a scare yesterday -- the confuser acted up again, just as it did before I took it in. I called the guy who suggested trying a different power supply or electrical outlet. I had already unplugged an external hard drive with a transformer from the surge-protected power strip I have everything plugged into. Guess what? The problem hasn't returned!

So -- either the surge protector is getting too old (and it IS old!), and/or the transformer for the external drive really was interrupting the power supply to the confuser itself.

Well, at least things seem OK for now. I'll plug the external drive into another outlet, and I may unplug the printers from the surge protector, too. And maybe buy another surge protector for the confuser.

And then maybe I can try to get back on schedule with blogging again!

Let's Have a Drawing!

No, no, no...not that kind of drawing. No pulling numbered tickets out of a hat to see who wins the prize!

I mean art drawings -- making an image with graphite or colored pencils!

While I can render pictures of objects using a pencil, it tends to be a utilitarian image...unlike many artists whose drawings are works of art unto themselves. There's something about the way they make lines and shading that are beautiful. I make just ... lines!

I'd like to fix that if I can. Following are some examples of drawings I'd like to be able make. Note: these drawings are NOT of my creation. The titles and creators' names appear under each image.

The Find, Charlene Brown

Barbara Palvin, Malwina Kozak

Natalie, Casey Childs

Head of a Muse, Raphael

I'd love to be able to make drawings like these! of course, I'd love to be good at drawing the face and human figure, too, but honestly: I don't have enough years of life left to learn that skill. One of these artists suggested copying master drawings to learn how to make the lines I want -- good idea. Copying the works of masters, both in drawing and in painting, used to be part of the learning curve for aspiring artists. One can learn SO much by doing that.

Maybe during this slow period of no sales and few paintings produced, THIS will keep me out of trouble!

Vent: Art competitions and Shows

I prefer to write about the more positive things in an artist's life, but -- as you might expect -- there are aspects that pull artists down. I guess that's true of all things, isn't it?

One my Facebook Friends who is also an extremely capable artist posted his opinions about art competitions. I hope he won't mind if I feature it here:


"In art competitions, the only valid criteria for judging should be the quality of the artwork, viewed with total objectivity and assessed impartially, solely on the basis of artistic merit. The identity of the respective artists competing should not be a factor, nor should the number of friends any entrant might have or how much effort he or she might have put into lobbying for votes. If I'm going to vote at all, it will be for the artwork that I see as the most worthy, no matter whose it is. Nothing personal."


I understand exactly how he feels. I've felt the same way about certain art exhibits/sales and posted my own comment:

  
"IMO, western art shows must be the worst when it comes to judging criteria. They often include "masters" in the show titles, but in reality, when you submit entries, they want lists of all the shows you've been in, or a list of articles that have been written about you,or a list of awards you've won -- stuff like that. In other words, they want to know how likely you are to be well-known and, thus, a good seller. Quality has little to do with it. It's popularity/fame/history of sales that they're looking for. "


It's something we artists have to put up with -- "adapt or die," as least as far as making it in the art biz is concerned. It's quite unfair and shouldn't be this way. But it is.

I really haven't decided how I want to deal with it all. I don't know that I have enough years of life left to accumulate the "stuff" that the competition/show sponsors ask for. But I know it's a part -- just one part -- of the reason why I've slowed down considerably in art: not only in creating it, but in selling it. It's far from being a level playing field, and maybe I'm getting too old to play this sport in a meaningful way anymore. (This pathetic economy doesn't help, either).

OK -- that's enough venting for now. On to more positive stuff.

Influences on My Art: How Desert Painting All Started!

How, you may be asking yourself, did Mark Junge get into painting desert scenes? I mean, he could have gone in almost any direction with his artwork. So what got him going in desert painting?

Funny you should ask. It really goes back to my pre-painting. My family and I were watching Walt Disney's weekly Sunday night program (Wonderful World of Disney?), and they broadcast a program called "How the West Was Lost" with the esteemed scientist, Ludwig von Drake hosting. In the program, von Drake pointed out how music had changed and that it used to be beautiful and calming.

Then the show featured an animated sequence accompanying Roy Rogers and the Sons of the Pioneers singing Blue Shadows on the Trail. The animation highlighted the desert changing from dusk to nightfall, with cactus in bloom, tumbling tumbleweeds, hopping bunnies and a family of quail scurrying around. (The feature appears on YouTube.com, although not with the best visual quality, here).

Everything about the tune and visuals got to me: the desert scenery, the critters, the song -- not the lyrics themselves, but the whistling and "whooping" that take place in the background, simulating animal sounds. The images stayed with me for years.

Then -- my brother told me the little cartoon was actually the intro for another Disney project: an animated feature film called Pecos Bill. I looked up and ordered the DVD that had Pecos Bill (and some other shorts). There it was! It's the only thing I've ever watched on the DVD. Then it occurred to me to see if it is on YouTube, and it is! So here I am, writing about it.

Disney has made other cartoons that feature desert scenery -- others where I actually like the artwork better (Pluto: The Legend of Coyote Rock and The Coyote's Lament, both also on YouTube). But Blue Shadows was the first inspirational piece that started me down that road, and the other animated pieces (and desert paintings I began to see) fueled the fire. Not to mention trips to what was then called Joshua Tree National Monument.

I feel like I owe the Disney folks something. I can't imagine the original animators had any idea how they were going to influence a young kid who would someday want to capture the immerse beauty of one part of God's world.


As you know, you can see my stuff on my website: http://www.SouthwestSpaces.com or http://www.MarkJunge.com.

Influences on My Art: Claude Lorrain

I sometimes mention Claude Lorrain as one of the artists who impacted my own painting in a big way. So who the heck IS this guy?

Claude was born Claude Gellée and was (in my opinion) a fantastic landscape painter from 17th century France. If you're interested in the details of his life, I'll let you read his bio which appears on the J. Paul Getty Museum's website rather than go into all that here. But I will tell you he made landscapes that seem to offer perfect harmony and composition -- places where people work and live in Arcadian beauty. Claude was known for his golden yellow or orange skies, making beautiful scenes even warmer and more inviting.

 Sunset or Landscape with Argus Guarding Io

Pastoral Landscape (1638)

I'm somewhat limited in my ability to emulate what Claude did in his landscapes. Here in the desert, except for cottonwood trees, I don't have the advantage of being able to place nice, big, full, lush trees against the sky. What we have are short Joshua trees, saguaro cactus, palo verde and ironwood "trees" (the latter two are more like big shrubs than trees). And cottonwoods are found only where water is near or on the surface.

Oh, well. I'll make the best of it. Claude's spirit compels me to do so.