In Maynard Dixon's Footsteps - Part 2

Last week I showed my photo of the fields of Toquerville, UT compared to a painting done by Maryard Dixon in 1933. After I realized that we had stopped at the same vista, I started wondering if there were other spots we had seen or painted on our trip that had also been painted by Dixon.

Subsequently, my friend Dave Meikle who went on the trip with me sent me the above painting. It is exactly the same vista that we chose for our first painting of the trip, but in the afternoon and without all the Dixon drama.

I hesitate to even show the painting I did it since I think it is pretty much a dismal failure as it is. I do think I can use it as an under painting and pull it out of the weeds, but it was pretty disappointing way to start the trip. The pieces did get better after that first one, so all was not lost.

Every time you pick up a brush outdoors, you want to do a good picture since it is always a one shot deal to paint plein air. The truth is that it doesn't always work out. Once I learned that, it was a lot easier to swallow a  "bonk" like this one. Looking at Dixon's interpretation, I am humbled, but determined to make the next one better.

In Maynard Dixon's Footsteps

Fields of Toquerville- Maynard Dixon, 16 x 20; oil- 1933

I traveled to Zion National Park to paint last month with fellow Artists David Meikle  and Ron Spears. Along the way we tried to find some of the vistas that Maynard Dixon painted including this place just a few miles outside of Zion in Toquerville, Utah. Below is my photo of the same place.

Funny how very little the view has changed since Dixon painted it in 1933. We even arrived at this place at roughly the same time of day based on shadows. Dixon probably painted his version maybe around 9:00-10:00 am. I am looking forward to painting my own version sometime in the future.

Influenced by the Best

"Thunderbird" -Sunset magazine "cover"

Oil on canvas, 18" x 24" by Greg Newbold

Whether we want to admit it or not. All artists are influenced by what they see. Whether it's our surroundings, the things we like, photography or the work of other artists, we seek out and internalize the visual material that resonates emotionally within us. During my MFA journey at the University of Hartford, we were given the assignment to create a magazine cover in the style of a Golden Age Illustrator. I of course immediately wanted to pay tribute to one of my favorites, N.C. Wyeth.

The 1914 Dixon cover that inspired me

While researching possible magazines in which to insert my painting, I thought o the several magazine covers created by another of my favorite painters, Maynard Dixon. I figured why not pay homage to both artists at once. I found a grainy photo of Maynard Dixon that gave me enough information to start from and with the addition of a palette and brush, I created a heroic view of Dixon painting in a landscape much like the ones he loved to paint.

Giant in the Clouds- by N.C. Wyeth

I tried to create the scene with the design, color and brushwork  sensibilities of Wyeth, especially the clouds and the way that the figure drops off into mostly shadow. In the end, I think it also shows  quite a bit of the influence both artists have had on my own work.

Santa Brought Art Books!

One of the best things about Christmas for me is the promise of new art books under the tree. This year was no exception and I received some beauties. Listed below in no particular order are my new treasures. I look forward to delving deeply into each of them, but for now, I will just give you an overview.

1- Color and Light- by James Gurney:
This is Gurney's follow-up book to last year's very insightful Imaginative Realism. Both books are based heavily on concepts that James profiles on his popular blog Gurney Journey. This volume examines various techniques and principles that any artist can use to better capture a realistic sense of light and color into their work.The principles are laid out in a concise yet thorough manner which allows the reader to digest each principle with a minimum of cerebral overload. This is the type of book I would have loved to have had available when I was struggling with nebulous theories of color as they were vaguely presented during my undergrad days. I wonder how many failed color schemes could have been avoided in my work if I had had a resource like this to draw upon.Even now after nearly twenty years in the business, I found myself having light bulb moments while reading through this book. I will be recommending both Gurney books to my students as must have resources.

2- The Legend of Steel Bashaw- by Petar Meseldzija
I admit I wanted this one purely for Petar's amazing paintings. It recounts a Serbian legend that Meseldzija recalls from his youth of a Young king's quest to rescue his sister and then his own love from the ruthless dragon Steel Bashaw. The sumptuous oil paintings are meticulously designed and painted with an alla prima flair that is admirable. I found myself looking closely at the details of each painting and wishing the reproductions were even larger than the 9" x 12" format. Luckily, there is a section at the back of the US edition that includes various drawings  and details of the finished paintings as well as a step by step description of Meseldzija's working methods. This one will be giving inspiration for a long time to come.

3- The Art of Maynard Dixon- By Donald Haggerty
I admit I am a sucker for Maynard Dixon books. He is one of my all time favorite western painters, a master of design and color, he breathed incredible life into his vistas of sagebrush and stone. I own several and couldn't resist asking my wife to make sure this one was under the tree as well. This volume expands upon Haggerty's previous volume on Dixon in a slightly larger format with a number of paintings that I had not seen before. I admit I have not read the text yet but based on the previous work I have read from Haggerty, I expect this to be well written and insightful as well. The best part though are the full color reproductions the are plentiful throughout the book. Already a big fan of Dixon's work, I expect this will fuel me even more to reach for expression in my landscape work that I have not yet achieved.