The A r t of “A thing stated as fact Milfor or as reasonable is one d Zorne thing, but art is the ability to express things beyond s: Friendships & Inspiration what can be expressed purely as fact or reason.” The Art of Milford Zornes: CCAA Friendships & Inspiration CCAA Museum of Art INTRODUCTION Milford Zornes, the man, the artist, the direction after his experience in WWII, His work has great integrity and he do with the importance of watercolor teacher, the friend, the role model. Who teaching and then Greenland. He began held his work to the high standards in California, the United States and yes was Milford Zornes? Why is he such an to teach painting workshops outside of of authenticity and was committed to the World. His 100 year commitment important part of the art world? the classroom setting, not only here in those standards. Of course he tried so will last through his own work as well This exhibit is our way of showing a California but all over the United States, hard to pass these understandings and the work of others he had an impact on. part of his influence upon individuals Latin America and Europe. He did this commitments. He was an idealist in so Milford gave up the quest for fame in as well as the importance and value of for the rest of his life, the process and for many ways as a human being and as an what most know as the “art world” to art in today’s world. Milford often said him joy of sharing his knowledge. His artist. Milford was unselfish with his time become a major influence to fellow artists that “painting was the only way he could vision through painting, and his love of and thoughtfulness while teaching others in the field of art. In the long run that create order in his life.” With that in painting, and its importance in the world and influencing their understanding and direction is the one that will give him mind, he painted everyday as a way of of art impacted many artists for a long attitudes as it related to painting. fame in the art world. Yes. The long road feeling and expressing his sense of order period of time. He said, “You learn to was the right road for Milford Zornes, in our chaotic world. teach and you teach to learn.” Whatever He was a great role model with his hard one of the great American artists of the he did learn, he wanted to share with an work ethic. From early in the morning 20th century. It is clear that Milford, along with unselfish attitude. to late at night, he definitely led by Millard Sheets. Phil Dike and example. He was also able to adjust to the Bill Anderson other California artist worked in adversities of old age including macular artist, gallery owner, art teacher, a direction that was unique to degeneration. He adapted with perhaps friend and colleague of Milford Zornes California during the 20’s and 30’s. the best results in his life with powerful Painting watercolors on location works of art that captured the essence that showed the landscape, the and beauty of the subject in a way few cities and the life of the people have ever been able to do. Claude Monet of California. This movement and Henri Matisse come to mind when led many artists in that direction. it comes to the work of artists late in Milford decided to go in a new their life. Milford Zornes had much to left to right Bill Anderson, Henry Fukuhara, Raul Anguiano, Milford Milford Zornes sitting for Zornes, Howard Hitchcook Raul Anguiano in 1996 photo by Greg Sutton 2006 2 3 Untitled Source of the Nile 30” x 22” 18” x 12” Watercolor Watercolor 2003 1988 Zornes Family Collection Zornes Family Collection 8 9 Mother and Child Mermaid 64” x 17” x 13” Acrylic Stain on Wood 1998 William and John Edward Svenson Jeanette Davis Like me, Milford was comfortable with welders, hot rod builder’s and bronze the common working class “mud on the foundry workers who had pride in what shoe’s” folks who were the backbone of they did; Milford validated that approach this country. I worked with blue-collar knowing “Art” is for everyone. 10 11 Barn at Knotable Arkansas Sketch from the Alabama Hills XX” x XX” 16” x 12” Watercolor Watercolor 1989 2002 Private Collection Tom Fong 12 13 Bill Anderson I met Milford Zornes in 1994 when I invited him to participate in a five country exhibit at the Nation Museum of Watercolor in Mexico City. I said to him, “I’m sorry Mr. Zornes there will not be insurance on your work from the time you give it to me and the time when the exhibit ends.” His response was, “If I had to worry about insurance for every exhibit I’m in, I’d never get anywhere. This said a lot to me at that time considering some painter with much less of a and painting on location with him at least one reputation said no because of the insurance day a week for all of the following years taught situation without regard to the importance of me a great deal about hard work, commitment this international exhibit opportunity. Milford and persistence as it relates to your work as an was a humble man that that understood what it artist. takes to be successful. Over the years traveling with him and painting on location with him I taught art for 38 years and still learned a great at least one day a week for all of the following deal from Milford. Most of all, the importance years taught me a great deal about hard work, of honesty and integrity in your work, paint commitment and persistence as it relates to from the strength of skill and knowledge you your work as an artist. Over the years traveling have acquired and are able to adapt to all the White House, Blue Trim with him things life presents to you. 20” x 14” Watercolor 2008 Bill Anderson 14 15 Over Cayucas 35” x 22” Walk to the Sea Watercolor 23” x 18” 1987 Watercolor CCAA Collection 2005 Jan Wright 16 17 Casino at Avalon Bay, Catalina Island Sierra Farm, Owens Valley 30” x 22” 30” x 22” Watercolor Watercolor 2008 2004 Private Collection Private Collection 18 19 Jan Wright When I first stepped into the Claremont Post Office in 1974 and saw the mural he created in 1937, I was stopped in my tracks. I never dreamed that I would one day become a watercolor artist and have the privilege of studying with him when he was in his 90s. He held strong beliefs about the need to paint directly from nature and railed against what’s left out of a painting is probably more the camera as an unnecessary barrier between important than what’s put in. the artist and his painting. The impact of his unfailing dedication to his work and his More than any other stimulus, I am attracted students will last for generations. to light against dark. I love to use bright Mapquest colors and sharp contrast. Balanced against 22” x 30” I love to paint trees. Perhaps that would have the frequent disappointment of not "getting 2006 occurred without having seen Milford’s capacity it," whatever the subject might be, is the Watercolor to turn them in to almost human shapes. His unmitigated joy of knowing when one has by Jan Wright ability to reduce the complex landscape to a some magical process, created an image that few critically placed lines sharpened my own rises up from the paper and enters the heart and deconstruction skills. According to Milford, mind of the viewer. 20 21 Yellow Trees In Carmel Valley 30” x 22” 30” x 22” Watercolor Watercolor 1985 1999 Private Collection Jan Wright 22 23 Patricia Palmer Zornes 1919-2009 In late 1939 to early 1940’s, Pat Palmer was a young student at Otis Art Institute where Milford Zornes was on staff. There are photos of Pat and Milford working with a small group of students on a mural (which still exists) at the Ramona Bowl in Hemet, California. During this period, Pat did some wonderful small several archeological publications. She watercolors. We suspect she was influenced by continued to draw into the 1960’s. At the time her instruction from Milford Zornes. of her death in 2009, she had begun to draw once again. After leaving Otis, Pat went to work for the Disney Studios doing illustration work for Milford often said that pat was his best critic. movies, including Bambi. While there in 1942, Milford often brought a painting from his studio Pat and Milford were married. into their kitchen where Pat often sat and asked for her to critique a painting. Milford said that Pat’s drawing skills were outstanding. She pat’s comments were often very critical, but he facing page, Untitled Olvera Street illustrated a book on botany as well as did not doubt her evaluation. 14” x 11” 14” x 11” Watercolor Watercolor Circa 1940s Circa 1940s Hal and Maria Baker Hal and Maria Baker 24 25 Raul Anguiano Millard Sheets 1915-2006 in San Francisco. I helped Raul with the East Los Thanks to Raul’s connections, I was asked by the Angeles College director of the National Museum of Watercolor facing page mural on the history in Mexico City to get 20 American watercolor Portrait of Milford Zornes of the 20th Century artists together to represent the U.S.