An Early Influence

Way, way back a long time ago (early '70s, when I was majoring in art at Cal State LA), I used to visit a weekly outdoor art show that took place on the grounds of Griswold's Old School House (in Claremont, CA), a complex that included a restaurant/smorgasbord, hotel, theater and shops. One of the regular artists there was a German immigrant who painted Southwest desert landscapes.

In my opinion, he was the best artist there in terms of achieving that classical, traditional look to scenes that the Old Masters never actually got to see. The artist typically had a mountain more-or-less centered, with either saguaro cactus or Joshua trees and lots of wildflowers. The works had such an old-world, skilled feel to them, and the landscapes appeared warm and inviting.

I wish I could have bought one of his paintings, but I wasn't working and didn't have the money for them, even though they didn't strike me as expensive. He often invited me to visit him at his studio and gallery in Pomona, but I never did.

And I never got his name or even a business card! At that time, I didn't realize that he would be an early influence on my present-day painting; in fact, he was really my first influence.

So I've been searching and searching for him, realizing he's probably deceased by now. What used to be called Griswold's has no records of that time.

Then, finally last night, I must have stumbled upon the correct search terms on Google, and I think I found him!

Karl Von Weidhofer

The Internet has only a handful of images of his artwork, but they resemble the ones I remember seeing at the art shows.

Desert Landscape          Karl Von Weidhofer

Sorry -- this was a small image, so the resolution isn't very high. And the composition isn't what I remember about the paintings I saw -- this view opens up in the middle instead of being blocked by a mountain.

Still, it should give you an idea of what it was that inspired me, even though I didn't know these paintings would come back to haunt me years later. The seed had been planted, and -- typical of my life in general -- it was a late-bloomer. And it blooms to this day.

This is a short bio of Karl as I found it in several places online:

Karl Weidhofer was born in East Prussia, Germany on June 8, 1920.  Weidhofer was in the German army when captured by the Russians during WWII.  While imprisoned for four years, he was taught to paint by a fellow prisoner. After the war he was reunited with his family in Bavaria.  He married and in 1954 moved to southern California.  For many years he worked as a lab technician for Pomona Tile Company while painting in his leisure.  In 1968 he became a full-time artist and began exhibiting his paintings in art shows held in malls and parks in southern California and the Southwest.  Weidhofer died at his home in Pine Grove, CA on Nov. 3, 2001.  Best known for his desert landscapes...

So -- is Karl the artist I remember? Maybe. The times and places mentioned in the bio would match where and when he would have been re: Griswold's in the early '70s.

He is indeed deceased -- lived to be almost 81 years old. I'll never get to tell him how he impacted my art forever.

But I'll continue to paint knowing Karl DID have that impact -- along with other artists who have shown me additional gems such as dramatic skies and lighting -- something Karl didn't get into.

Maybe you're painting right now in heaven, Karl. RIP.

The Santa Fe Look

If you've been around for a while -- say, the 1980s -- you may remember a decorating trend called "The Santa Fe look." The dominant colors were mauve and teal -- not colors you actually see in the city of Santa Fe, NM with its emphasis of Pueblo Revival architecture. Supposedly, these colors represented the Southwestern desert, perhaps before sunset. (I never thought that, but others did).

The furniture used a lot of smoothed-and-varnished natural wood tree limbs; fabrics used mauve and teal. Artwork was sometimes abstract; otherwise, it was quite desert-themed, with cactus, agaves and other prickly plants and/or pueblo Indian pottery, structures, ladders -- stuff like that.
 

By "Teresa"

Unfortunately, I only have Teresa as the artist's name...I believe i saw this on eBay. I hope she won't mind if I showcase her work here.

This piece is very typical of the wall decor that was common during those years. (Note -- I'm NOT putting this painting down). Although it is desert-themed, I never got into the Santa Fe look. Too trendy for me -- I was more interested in developing as a more classical-realism painter -- I goal I continue to chase.

In fact, I got so tired of what I was seeing, and how readily people bought these things, that I made a sort of surreal version of the Santa Fe look in protest.

Parasonoran Life Zone

 As you can see, the landscape features broken stand-up cactus in Santa Fe-look colors. Peach was a color that was just being added to the mix, so the only color that is isn't "right" is the blue of the sky. Some viewers actually laughed when they saw this -- I glad they "got it" and saw the humor and sarcasm in it.

So if this look was profitable, why didn't I pursue it? Because it was a trend -- nothing to build a lifetime career out of. After all -- where is all that Santa Fe artwork today? Certainly not on collectors' walls or in art museums!

Eventually, mauve and teal faded into beiges and earthtones. Desert and pueblo subjects seemed to disappear. (One artist tried to discourage me from painting desert landscapes because that subject came and went -- I don't think he realized I wasn't making mauve and teal desert landscapes!)

And I hope that the paintings I'm making today will be around longer than the Santa Fe look of the '80s.

 

Visions of the Night

As you may know, a "nocturne" is a work of art or music that is all about the night -- typically, night with a full moon.

It's amazing how magical nocturnes are! Provided a landscape feels like a safe place to be in, the darkness + moonlight casts a spell as nothing else can.

I've painted less than a handful of nocturnes only because they can be too dark for people to hang on their walls, especially if rooms are not brightly lit during the evening hours. But I suspect I may do more of them -- possibly scenes that are not desert. I absolutely love the look the full moon gives to the land, as it has been the last few nights during the "supermoon." (Full moon was last night, but it's still lookin' pretty darned wonderful out there!)

Mojave Nocturne

In these two images, you can see I sometimes make the night sky quite blue; other times, I tone it down quite a bit. We don't see much, if any, color when the light levels drop too low. We may think everything looks blue, but it's mostly shades of gray. (The sky MAY have a little blue in it).

What's amazing to me are the color photos (35mm slides) I've taken by moonlight. Given enough exposure, the pictures look just like daylight pix! The relative values, darks and lights in a moonlight scene are the same as they are in daylight -- things are simply darker.

AND -- just a couple of other differences:

1. The brightest stars show up in the nighttime photos;
2. Shadows have blurry edges. The moon moves enough during the time exposures to blur things.

Maybe someday soon!! More nocturnes!
 

Moonlit Desert

 

 

 

 

What to Paint, What to Paint

I don't know if other artists struggle with deciding what subjects to paint next, but sometimes I sure do! That's why I have to think in terms of future images even while I'm working to finish whatever I'm working on now!

I recently bought a canvas made of polyester -- it's supposed to last much longer than cotton or even Belgium linen. The size is 30" x 40" / 76cm x 102cm -- I prefer canvas for larger sizes just because they weigh so much less.

So what's the problem? Well -- do I paint Monument Valley or a redwood forest?

Admittedly, I've painted Monument Valley many more times than I've painted the redwoods. Yet, I feel like I've never caught the redwoods quite the way I've wanted to. The first time we saw them in Lady Bird Johnson Grove in Redwood National Park, CA, the morning sun was shining through the trees, and I was disappointed because I knew the forest would not photograph well -- bright spots of light next to deep shadows. (I was a photographer back then, not really a painter).

But then we rounded a corner, and a light fog had filled the forest. The air was lit up by shafts of sunlight breaking between the branches. We felt like we had stepped into heaven -- the blue sky that appeared beyond the hills showed through the fog, the ferns gave a lush carpeting of dark green and bright yellow-green from the sun. And, of course, we had those awe-inspiring giant trees rising to the skies in cathedral-like reverence.

Of course, it still didn't photograph quite the way we saw it, but the pictures + my memories help me remember how the redwoods looked that day. But I never got it right when I wanted to transfer my memories to the canvas.

Well, maybe NOW I'm ready to give it another shot. It won't have a waterfall like the image above (we never saw any waterfalls there), but I keep thinking there's a picture of heaven in my head, and it wants to be out in the open for all to see.

Maybe I've made up my mind about what to paint next!

SouthwestSpaces.com ... MarkJunge.com

Wildlife Moments

My newest painting, Looking for Dinner -- Redtail Hawk, depicts what could become one of those nature documentary-types of moments... or it could be nothing at all!
 

Looking for Dinner -- Redtail Hawk               11" x 14"

In the air, we see a redtail hawk sailing effortlessly over the Mojave desert, making one last pass for tasty goodies before the sun sets -- coming close to what could his/her dinner. That cute little desert cottontail bunny-rabbit probably doesn't know about the hawk yet, but it's OK as long as it stays put. But if it hippity-hops into the open, it just may become a meal!

I won't reveal where the bunny is -- I hope you can see it. But I wanted to do a piece that tells a story -- as brief as it is. Prey-predator relationships. Life and (maybe) death in the surrealistic desert.

The setting is Joshua Tree National Park, with some of its namesake plants scattered about. The dominant tree is leaning toward the south -- unfortunately, Joshua trees have a bad habit of growing toward the sun. When they get bigger, they're off-balance, and in time will topple over. Not ALL JTs work out their self-destruction in this way, of course, but it isn't unusual to find places where all or most of the JTs have that characteristic lean.

The small mountain in the background has become one of my favorite geological features in the Park to paint. Most of the hills and formations in Joshua Tree National Park are unnamed officially -- often, the climbers come up with names that they share with each other, but the National Park Service never went around naming everything. So I just call this mountain "the peaks." I like all of the pointy projections for some reason. This paintings shows "the peaks" reasonably accurately (the peak on the far left is shorter than I've made it here).

The hawk is the sharpest item detail-wise and contrasts strongly with the lighted area of the peak behind it. It's also located at one of "golden mean" points of the composition. All this tends to make you look at it, although the JT in the foreground does some of that, too. The bunny, of course, blends into its background -- natural camouflage.

Wildlife moments. Kinda fun sometimes!

www.SouthwestSpaces.com
www.MarkJunge.com

 
 

A Walk in the (Cretaceous) Woods

Sometimes, ya jes' gotta paint DINOSAURS!!

A Walk in the Mist -- Deinonychus   10" x 8" / 25cm x 20cm

Here we have a group of Deinonychus ("die-NO-nee-kus"), a raptor species that was about 6'-7'/2m tall (and was what the "velociraptors" really were in the Jurassic Park movies). It's likely that, like modern-day lions, they finished gorging themselves on a kill and are now looking for a safe place to sleep it off -- safe from critters that might eat them!

Deinonychus lived in the late Cretaceous -- a hot, muggy, carbon dioxide-heavy time. Thus, I wanted the air to appear very foggy but still lit up by the blazing afternoon sun.

Although these dinos are long extinct, most of the plants I've depicted are still around -- "living relics" or "living fossils." The tall trees are Wollemia nobilis or Wollemi pine -- I believe they're limited today in the wild to SE Australia but can be found in landscaping for homes or businesses -- they're attractive trees! To the left is a cycad or sago palm, and further back are some taller Macaw palms, Acrocomia aculeata. And, of course, tree ferns and other species of low-growing ferns and mosses.

(Ya know -- finding resources to visualize dinosaurs isn't hard, but information about how extinct plants looked takes more effort!)

I'm not a dinosaur expert -- my area was microbiology -- but I do have a childlike fascination with these animals. They give me an opportunity to paint something a little different while applying what I've learned about Old Masters techniques and composition in art. I wanted to get away from the edge-to-edge sharpness that I see so often in paleoart and illustration; thus, the only spots in this painting that are detailed are the dinos and the treefern to their upper right. (Treeferns, by the way, are my favorite plants, especially the species that grow on Kauai'i (Cibotium chamissoi), even more than organ pipe cactus and Joshua trees.

I'm curious to see what kind of reaction I get from potential collectors. I have no idea what the market is for artwork like this -- I suspect it's limited -- but if works like these sell, I may have to work bigger in the future!

Rawr!!

The Wilds of California

Believe it or not, southern California still has some wild areas. Even in somewhat urban places!

California Wilds                    11" x 14"

One of my alma maters is California State Polytechnic University, Pomona, CA, where I received my science degrees (Cal State L.A. is where I earned my BA in Art). Cal Poly is big on agricultural programs and has a lot of miniature farm- and ranch-like areas. But parts of the campus are natural, undeveloped land -- coastal sage scrub plant community typical of much of SoCal.

Many field biology classes (I was in some of those) take hikes out in this region to collect specimens, take measurements (i.e., what percentage of the ground is covered with plant materials), go on bird walks -- stuff like that.

So I had some opportunities to see some of this natural beauty -- things that many other students really don't even know about! And, of course, I've made a few paintings of it, with more to come.

In California Wilds, I made only a few slight changes to make the painting "work" better for me. The cluster of California sycamore trees on the left was actually another species of tree (black walnut). But I happen to like the sycamores (which do grow there), so in they went!

Also, the hiking trail is really a double track from vehicles that occasionally drive through here.

In all, I think I accomplished what I wanted to accomplish -- a dramatic, yet peaceful and contemplative, scene; a nice break from the concrete and brick of the buildings at Cal Poly.


See me at SouthwestSpaces.com!