Sea­sonal works

Western Art Collector - - CONTENTS -

On May 5 Set­tlers West Gal­leries in Tuc­son, Ari­zona, will once again mark the desert’s most fa­mous sea­son with its an­nual Summer Show, this year fea­tur­ing works from 42 of the gallery’s top Western artists.

“Our Summer Show marks the tra­di­tional end of our high sea­son, but be­fore our col­lec­tors wan­der back to cooler cli­mates, we en­joy tempt­ing them with works by our long­time fa­vorite artists as well as some new, ex­cit­ing faces,” says gallery man­ager Mike Salkowski. “Tra­di­tional Western themes are al­ways well rep­re­sented for this exhibition, but we also fea­ture some more con­tem­po­rary works. The va­ri­ety of pieces, artists and price points of­fers a ter­rific op­por­tu­nity for col­lec­tors to fill those empty spa­ces on their walls.”

Par­tic­i­pat­ing artists in­clude Wil­liam Ach­eff, Mark Boedges, Har­ley Brown, C. Michael Du­dash, Charles Fritz, Ann Han­son, Ore­land Joe, Bon­nie Mar­ris, Julie Nighswonger, Scott Tall­man Pow­ers, Daniel Smith, Andy Thomas, Michael Ome Un­tiedt and many oth­ers.

John Fawcett will be pre­sent­ing work in two dif­fer­ent medi­ums: Gen­tle Hands in water­color and Robe of Valor in oil. For the water­color, which de­picts a cow­boy tend­ing to two horses, Fawcett draws from per­sonal ex­pe­ri­ence. “On many of the large ranches in the West, it is com­mon for cow­boys to have a ‘string’ of horses that they work off of each day,” the painter says. “Here, the cow­boy is fin­ished with his one mount and will take the hob­bles off the other in or­der to use it dur­ing the gather and brand­ing. His horses are in­valu­able in his work, and along with his dog, make his job so much eas­ier and re­ward­ing. A shift of his weight, a nudge of his knee, a flick of his wrist, a soft word and a gen­tle touch is all the com­mu­ni­ca­tion he needs with the an­i­mals he spends his long days with un­der the Western sky.”

For Robe of Valor, Fawcett paints a Na­tive Amer­i­can fig­ure as he peers in­tently to­ward the viewer. “The Plains In­di­ans recorded with draw­ings, their ex­ploits with en­e­mies, their suc­cess­ful hunts and any sig­nif­i­cant weather or other events that af­fected their tribe, on a buf­falo robe which was used as a vis­ual his­tory of the pre­vi­ous year,” he says. “The ‘Win­ter Count’ robe is worn by an el­der, who is the recorder and keeper of this im­por­tant his­tory for his tribe. Here, this proud Lakota brave is wear­ing the buf­falo robe with valor, for the brav­ery he ex­hib­ited dur­ing bat­tle.”

Sev­eral other works with Na­tive Amer­i­can sub­ject mat­ter are Stephanie Cam­pos’ char­coal work Crow, in­spired by Crow peo­ple from Mon­tana in 1908; Robert Griff­ing’s ca­noe scene Early Morn­ing Silence; and Roseta San­ti­ago’s Santa Fe Faces, which shows three fig­ures in front of a Santa Fe Rail­road sign.

“I have been in­clud­ing the rail­road logo in this se­ries of portraits won­der­ing if my fa­ther saw and how he felt about these peo­ple of the South­west,” San­ti­ago says. “My fa­ther jour­neyed West on the first Santa Fe Rail­road cross­ing by Pres­i­dent Harry Tru­man as his per­sonal chef. In my imag­i­na­tion, I think it

seemed like a land of en­chant­ment; the same way I feel about Santa Fe to­day.”

Ross Buck­land, who paints ad­ven­tur­ous sport­ing scenes, many of them with air­planes, will be show­ing True North, a com­po­si­tion with beauty at every layer—from the sub­merged rocks in a crys­tal-clear lake in the fore­ground, to a ca­noer and his dog in a shady spot on the wa­ter, to the air­plane soar­ing through the scene, to the far back­ground, where a snowy moun­tain rises into the sky dra­mat­i­cally. “In­spired by a nostal­gic ap­pre­ci­a­tion for by­gone days, when a wilder­ness es­cape could be sat­is­fied with a cabin, a ca­noe and a good dog, True North de­picts a de Hav­il­land Canada Beaver de­part­ing a re­mote lake un­der the watch­ful eyes of two tem­po­rary residents,” Buck­land says of the work.

Other im­pres­sive scenery includes Phil Epp’s deep blue noc­turne land­scape with horses ti­tled Night Lights; Dar­cie Peet’s Ari­zona-based Wind Clouds; and Kenny Mckenna’s ranch scene On the High Road to Taos, which fea­tures a scene in the midst of a sea­sonal shift. “On the High Road to Taos ex­em­pli­fies the charm of north­ern New Mexico,” Mckenna says. “The warm au­tumn colors of an Oc­to­ber day and the rustic red roof in con­trast with the snow­capped peaks cre­ated an al­lur­ing sub­ject to paint.”

Set­tlers West’s Summer Show will take place May 5, when all the works will be sold in a fixed-price, by-draw sale. Any un­sold works will be avail­able at the gallery through­out May.

John Fawcett, Gen­tle Hands, water­color, 17 x 16"

Robert Griff­ing, Early Morn­ing Silence, oil, 12 x 16"

Roseta San­ti­ago, Santa Fe Faces, oil, 8 x 10"

Phil Epp, Night Lights, oil, 20 x 20”

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