People inSection a Hard 1 Land IconicOn Images the of Life inMove the Southwest Introduction ver the last century, some powerful images have appeared in OSouthwestern art that have become truly iconic. Pioneers, cow- boys, and Indians moving across a vast, uninhabited landscape; men and women engaged in the hard labor of taming a wild land; Western faces—tough, weatherworn, stoic, self-reliant, patient, wise, open, and honest; people from different cultures living in harmony with nature and each other. Why have these Western themes remained among the most popular in all of American art, literature, and film? Perhaps it is their sense of optimism—the hope of settling in an un- spoiled land where hard work and determination can yield a life of independence and dignity. Perhaps it is the thread that ties us to our distinct American heritage. Perhaps it is the idealization of a bygone age, where the spirit that tamed the West remains one of the con- tinuing wellsprings of the American dream. This exhibition explores these classic representations of life in the Southwest. It features works by some of the region’s premier artists from the collections of Diane and Sam Stewart and the Brigham Young University Museum of Art. The exhibition is divided into three main sections: On the Move, Hard at Work, and Western Faces. Interwoven among these is the overriding thesis of a diverse people sharing a homeland—a multi-cultural region where Native peoples, Anglos, and Hispanics have lived side by side for generations. 1 Section 1 On the Move — Communication On the Move ome of the most familiar images of the Southwest depict people Straveling across unsettled desert plateaus and rugged moun- tains. Whether on horseback, in wagons, or on foot, these people often seem small in the expansive wide-open landscape. There is a Herbert W. (Buck) Dunton (1878–1936), Deliver- Mahonri Mackintosh Young (1877–1957), Pony Express Rider 1/6 (Posthumous), ca. sense of courage, determination, grit—and also freedom—in their ing the Mail, ca. 1912–15, oil on canvas. Diane and 1973, bronze. Brigham Young University Museum of Art Sam Stewart Art Collection long and challenging journeys. Art and Artists Herbert Dunton moved to Taos in 1912, abandon- horses and riders staged at relay stations scat- ing a successful career as an illustrator in New tered along the route from plains and prairies to York. He was especially cognizant of his artistic mountains and deserts. mission to capture the essence of the West before it faded into the modern world: “The West has Look More Closely passed—more’s the pity. In another twenty-fi ve years the old-time Westerner will have gone, too— While both works dramatize the strength required to with the buffalo and the antelope. I’m going to live in a wild and hostile environment, these two artis- hand down to posterity a bit of the unadulterated tic representations of mail delivery could not be more different—in both temperament and visual impact. real thing.” 1. Compare the mood generated by each of these • Almost 100 years later, do you think the “real works. How do the stances of both horse and rider thing” still exists in the American Southwest? convey this difference? What other visual ele- • Dunton says that the passing of the West is a ments transmit the spirit of these compositions? “pity.” How do you feel about the changes that 2. How many telling details can you identify that always seem to accompany progress and the pas- communicate the chill of the moonlit scene in sage of time? Is change necessarily a bad thing? Dunton’s painting? (such as the scarf blowing, the carrier’s heavy skirt, the horse’s mane fl uttering, the Historical Context condensation of their breath, the horse’s footprints The famed Pony Express has been celebrated glistening in the moonlight, and the tentative stance of throughout American literature and the silver the horse as its rider urges it forward) screen, despite the fact that it operated only eigh- 3. Notice that in Dunton’s work, the rider’s heavy teen months—from April 1860 to October 1861. skirt indicates a female, rather than a male sub- Before the telegraph, it was the fastest form of ject. Compare and contrast the challenges faced communication across the continent. Messages by men and women in this forbidding landscape. were carried by riders on horseback, with fresh 2 3 On the Move — Livelihood On the Move — Subsistence Minerva Teichert (1888-1976), A Refreshing Respite from the Maynard Dixon (1875-1946), The Stream, 1916, oil on canvas. Wagon Train, 1955, oil on artist’s board. Stark Museum of Art, Brigham Young University Museum of Art. Gift of Vernon and Char- Orange, Texas leen Dickman Frederic Remington (1861-1909), Mountain Man, 1903, bronze. Brigham Young University Museum of Art Art and Artists Teichert, who spent most of her life in Utah, Idaho, stream to cool off and wash the dust of the trail and Wyoming, painted many scenes throughout from their faces. In The Stream, the over-hanging Art and Artists her career celebrating the lives of Mormon pioneers. branches of a tree give shelter as a horse drinks Although raised in the East, Remington’s love of depicts these men as loaners dressed in buckskin She used bold brushstrokes and bright colors, the clear water and an Indian woman waits to fill outdoor adventure contributed to his enthusiasm with a coonskin cap and bushy facial hair. Actu- dispensing with details that were not necessary for her canteen. for cowboys and soldiers. In his late teens and ally, many trappers travelled in companies for the telling her vivid stories. early twenties he saw and sketched the authen- sake of safety and companionship. tic West for himself, visiting Montana and New Dixon painted The Stream a year after seeing a Look More Closely Mexico, and began publishing his work. He honed major exhibition of French and American Impres- his artistic skills at the Art Students League of Look More Closely sionist paintings at the 1915 San Francisco World’s 1. Stylistically, what similarities do you see between these two works? New York and became a highly successful illustra- 1. Notice the manner of dress and the various provi- Fair. Deeply impressed, he immediately began tor, painter, and sculptor of the Old West and one sions the mountain man carries on his journey— painting with brighter, unblended brushstrokes 2. Minerva Teichert’s teacher, mentor, and re- of the most beloved American artists. the fringe of his clothing, his pelts, axe, traps, emphasizing the shimmering qualities of light, nowned American artist Robert Henri suggested rifle, etc. What does this tell you about the nature shadows, and reflections, as seen in this work. that her mission should be to tell the Mormon Historical Context of his daily life in the wilds of the untamed West? story in paint. How is this mural a convincing It’s estimated that over 3,000 mountain men Might you have enjoyed such a life? Historical Context representation of the Mormon pioneer trek west to the Salt Lake Valley? roamed the rugged wilderness of the West during • How does the artist portray the danger of this It is estimated that more than 60,000 Mormon the mid-nineteenth century in search of adven- mountain man’s descent? Notice that he’s pioneers made the trek West from Nauvoo, Illinois 3. Discuss the compositional arrangement of Tei- ture and a livelihood of fur trading. These trap- leaning back at an extreme angle with the starting in 1846. Among the many privations suf- chert’s work—the border, background, middle pers were also instrumental in guiding pioneers to horse almost vertical, holding on tightly both fered by these courageous people—disease, starva- ground, and foreground each depicting a different aspect of the pioneers’ journey. For example, the new territories and teaching them to survive the in front and back, cinching his knees into the tion, severe weather, hostile tribes—one the most dangers en route. Knowing Indian traditions and horse’s sides, his feet pushing hard on the narrative in the border shows how they obtained serious was a lack of clean, drinkable water. For their food; the back and middle ground depict the language, mountain men also occasionally served stirrups. many pioneers crossing the plains and deserts, wa- harshness of the journey; while the foreground • Ho w do the strong diagonal lines of the com- as interpreters for securing treaties. The life of ter was more precious than gold. Cast in this light, reveals a softer side of the journey with families position add to the drama of the scene? a mountain man was dangerous, with constant both of these paintings become more poignant. celebrating the life giving, refreshing water. No- threats from hostile tribes, wild animals, and ill- 2. K eep in mind that most sculptures are meant to tice also that the background shows the direction ness. Those that could weather the harsh lifestyle be examined from all angles so that the viewer In A Refreshing Respite from the Wagon Train, wag- of their journey—the wagons facing West with learned remarkable survival skills and developed gains new insights with each new perspective. ons move slowly, boys on horseback guide a herd the movement flowing right to left. keen senses. The romanticized, Hollywood version of cattle, and women and children pause at a 4 5 On the Move — Desperation On the Move—Looking for Solace Maynard Dixon (1875–1946), No Place to Go, 1935, oil on canvas.