Showing posts with label Landscape painting. Show all posts
Showing posts with label Landscape painting. Show all posts

Friday, March 24, 2017

March Birthday: Artist Robert Wood

Mountains and Hills by Robert Wood 20"x30" oil on canvas $6000 framed at JR Mooney Galleries


March is the birthday month of English painter Robert Wood. Wood is reportedly one of the most mass-produced artists in the United States. He gained popularity in the 1950s and 60s when many of his works were reproduced in lithographs and distributed by companies such as Sears, Roebuck. Wood was born on March 4th in Sandgate, England in 1889. He served in the Royal Army and immigrated to the United States in 1910. He traveled extensively through the country working odd jobs and hopping freight trains while he sold or bartered his paintings. During this period, which Wood later recalled as one of the best of his life, he was influenced by the rural landscapes of America. His travels took him to Illinois where he worked as a farmhand, to Pensacola, Florida where he married, Ohio, Seattle, and Portland, Oregon.
 
 In the early 1920s he settled in San Antonio with his family where he experience tremendous growth as an artist. He studied under renowned Spanish painter Jose Arpa and was active in the San Antonio Art League. He was influenced by his contemporaries like Arpa and the Onderdonks. He exhibited in the 1928 Texas Wildflower Competition. Porfirio Salinas was his student. It was here in the Texas hill country that Wood's work blossomed and he gained a national reputation as a landscape painter.

 Robert Wood left Texas for California in the 1940's, and then moved briefly to upstate New York before returning to southern California in the early 1950's where he would settle. Around this time the public became captivated with Wood's seasonal Woodstock paintings. He worked with a print publishing house to reproduce several of his works. The reproductions were a success. October Morn, which was his most requested print, sold more than one million copies in less than two years. Wood remained in California, where he was active in the art colonies at Monterrey and later Laguna Beach, until his death. He never returned to England.

Although the majority of his subject matter focused on rural landscapes, Wood's style changed over time.  His early work was influenced by his heritage and is more reminiscent of the 19th century English landscape painters, while his latter work became more impressionistic. Must have been all those train rides through the countryside. J.R. Mooney Galleries of Fine Art is pleased to currently have in its possession Mountains and Hills, a stunning 20
x30impressionistic oil painting by Robert Wood. Call or stop by the gallery for inquiries.

Wednesday, June 1, 2016

Red Poppy Landscape by J. Morgan

See more of J. Morgan's artwork on 
our website at:


J. (Jeong) Morgan remembers becoming interested in art at a very young age, and spent many hours in his youth sketching scenes he saw around him in his home of Seoul, South Korea. He was born in 1958. He graduated from Kyung-Ki University with a major in fine art in 1984 and through his extensive traveling, he discovered many new and beautiful scenes to depict in his work: The vineyards of Tuscany; the dry landscapes of the Midi in France; the brilliantly colored floral hillsides of Valencia. His travels opened up a world of possibilities for the emerging artist, and he continues to travel for inspiration in his work. J. Morgan lives in the country side of Kyung-Ki, Seoul where he is a full time artist. He did a six month residency in Thailand at the King's Palace- spending his time painting. His artwork was selected to help decorate and create an illustrious addition to the already elaborate buildings of this geographical wonder.

Tuesday, November 17, 2015

Art Consultant Spotlight: “Fall Landscape” Gilbert F. Neumann



"Fall Landscape" by Gilbert F. Neumann, oil 9"x 12" $1,600  


 As I view Gilbert F. Neumann’s dominant bold pumpkin and gold colors, I can’t help but to want to reach for a scarf.  Above, a grey sky emerges from the full foliage and a wispy white cloud floats into the horizon as if to say good-bye to warmer days, welcoming the coming chill in the air. The trees breathe a sigh of relief from the long hot Texas summer as they begin to release their leaves to the still green ground.  The fence disappears into the horizon blurring the focal point, which represents the transition that is the fall season.

© Gina Martinez, Art Consultant, Framing Designer-J.R. Mooney Galleries, Boerne, TX 

Please Contact J.R. Mooney Galleries of Fine Art for Availability
1.800.537.9609 Toll Free
210.828.8214 San Antonio, TX Location
830.816.5106 Boerne, TX Location

Saturday, July 11, 2015

Claude Roy's "Afternoon Dance" at JR Mooney Galleries

Spotlight
New Acquisitions


Claude Roy 
“Afternoon Dance” 

 http://www.jrmooneygalleries.com/Roy-X-8248-Original-Oil-Art-Landscape-Impressionist?manufacturer_id=629

Oil  20” x 24” $745.00



Claude Roy explores the landscape in vivid and brilliant explosions of color through a robust impasto palette knife technique.  Typically he paints idyllic vistas of country sides, meadows and fields with architectural accompaniments of cottages, punctuated with flourishes of cadmium reds and greens.

“Afternoon Dance” is a maverick painting due to the below eye level perspective, which brings the viewer close up with the tall wavy grasses of the lush meadows that were always seen from afar in his canvases.  Roy has decided to focus on the winged subjects that inhabit the flora of his pastoral renditions.

There are four butterflies that are depicted in flight: a revealing of a world that is oftenoverlooked in the overall scheme of a landscape painting.  Attention has been given to the details on the wings and the interactions between the butterflies. Here, Roy’s palette knife technique in full display, with strokes and impressions slicing through the hues and colors suggesting leaves and clusters of saturated  blooms that are in the foreground. 

The background is a soft haze of subtle layering of delicate blues and soft whites creating an illusion of depth and distance in the sky.  The cool tones of the background contrast and accentuate the crimson impasto that comprises the flowers that the butterflies are fluttering upon.  This harmony of color palette harmony infuses the painting with a whimsical vibrancy and creates a joyous presentation.

© Katherine Shevchenko, 
Art Consultant, 
J.R. Mooney Gallery, Boerne 

July 8, 2015      

Wednesday, July 8, 2015

“Lupine Lullabye” by Jung Yoon

 www.jrmooneygalleries.com


The Korean artist Jung Yoon’s exquisite painting “Lupine Lullabye” has recently been stretched and framed for display at the J.R. Mooney Gallery, Boerne.   

Yoon’s "Lupine Lullabye" delivers to the viewer a carefully rendered execution of an idyllic forest scene that radiates with peace. The graceful elements from the lyrical placement of the elegant birch trees and their mirror reflection in the water are balanced by the lush grasses and vibrant sky. Nature reigns supreme through the eyes of Yoon.  

 The foremost element that strikes the viewer is the vivid use of color which contrasts with the delicate mood in the scene, an example of Yoon’s aspiration to capture, “the subtle intensity of nature.” Golden leaves of the birch trees catch the radiant sunlight light and glow. The pale cerulean sky is an effulgent backdrop to this vibrant scene of life. Warm earth tones in the reflection in the water complement the verdant trees on the opposite bank, leading the eye around the composition.

This halcyon environment is not necessarily an actual location in our world, but a place conjured up by Yoon’s gestural brushstrokes as he evokes a pure state of being that nature can redeem in the conscience of humanity, that has been artificially cut off from its realm.

Excerpt from Online Art Catalog, Jung Yoon, Contemporary Landscape Paintings


©   Katherine Shevchenko, Art Consultant J.R. Mooney Gallery, Boerne TX

Friday, January 16, 2015

The Cerebral Dichotomies of The Boerne Dyad





The Cerebral Dichotomies
Of The
 Boerne Dyad
Bill Scheidt and Sidney Sinclair

Curatorial/ Gallery Statement:

In preliminary discussions with Sidney about a spotlight showing of her new artwork for our monthly events, we began to explore the new series she was working on. The most recent material she had was from a recently attended workshop by a prestigious mentor. However, Sidney was undecided in how to continue to create work using her abstractions vs. the traditional genres of her comfort zones. This created the conceptual basis for her part of the spotlight exhibition.

As I thought about her work, another Boerne artist, Bill Scheidt came to mind. Bill and Sidney had been showing in the same gallery for decades until it closed and then J.R. Mooney Galleries brought both aboard for representation. Their connections were like sister and brother; it would be like splitting up the family if one was brought to the forefront and not the other. If we showed them together we had a pair of local artists who have been working on their own projects, their own commissions and other institutions exhibitions outside the gallery. By bringing them back together we were bring a history, a dialogue, an interaction and I felt “Dyad” as a noun was perfect for a good description of the action itself.

However, we ran into snags along the way. Life took its toll on the production of the artwork, the little things added up; the holidays, sickness, other shows, etc. After following up with Sidney on the prospect of a highlighted collection of new work the material had changed. She was back exploring old sensibilities with new eyes. She was drawn back into her comfort zone with new ideas; working in a traditional sense with abstract concepts.  Struggling to gain a foothold on an overall cohesive body of work, we decided together that the exploration of her abstracts, the landscapes and everything in-between was a healthy decision, and not to edit in the studio – paint as she felt fit. 
Now, we were no longer dealing only with two artists as a dyad, but now one artist was dealing with two genres- the abstract and traditional. It was a dichotomy of sorts with conceptual and contextualized explanations for both ways of working and her need to continue to explore aspects of each. In her statement we see into her thoughts and begin to understand a new beginning of an old way.  The thoughts that linger, but driven ahead by the new, the new styles she wants to paint, the new images she sees that influence her work and the new experiences of the world around her that play a role in her paintings.

For Bill, large private commissions dominated his studio time; recent accolades in other cities spurred a rekindled interest in his work. A new body of artwork was out of the question.  So it was decided older work from his private collection would be swapped out with previously exhibited paintings already at the gallery, and we would show ones new to us, new to our clients and patrons.  Now we had a dyad for Bill, two categories of work, new to us, old to him and a swap of the old to the gallery and new to his private collection; a dyad: an interaction in a physical sense and a conceptual sense. More artwork would be supplemented by private consignments, giving our viewers opportunity to view aftermarket originals, fitting into Bill’s stable resale rate.  Our intent is to show how relevant older work can be in comparison to newer work, and the desire to project a cohesive variation of subjects, including wildlife, western, and Native American. Old and new for Bill was his dichotomy, time was the agent, and the visual connection of this span of work was the cemented and contextual analogy of thoughtful representations – hence the cerebral, or mind, brain, or intellectual connections throughout his work.

-Gabriel Diego Delgado
Gallery Director

J.R. Mooney Galleries, Boerne

Friday, December 19, 2014

Jung Yoon online art catalog


J.R. Mooney Galleries of Fine Art is proud to release the newest edition of the online catalog selections with the launch of Jung Yoon.  Yoon's classical but contemporary traditional landscapes can be purchased at both the Boerne and San Antonio gallery locations.

To View the online catalog click here:


 http://issuu.com/jrmooneygalleries0/docs/j.yoon_catalog_12-2014/1

 http://issuu.com/jrmooneygalleries0/docs/j.yoon_catalog_12-2014





Sunlight and Shadow

                  Sunlight and Shadow by Humphrey

     Humphrey’s Sunlight and Shadow contrasts with other works in his oeuvre due to the strong presence of darker values that are usually not as prominent in his sunlit and colorful vistas. In this composition, the river’s path cuts through a dense forest that the sunlight struggles to penetrate through, creating passages of shadow throughout. Somber tones are employed to depict the depth of the water and the areas alongside the river that are untouched by the sun. Even though shadows are momentous throughout the design, they further serve to emphasize the light by providing visual contrast.     


     Light is the primary focus of this composition, concentrated in the center of the painting. The light illuminates the water unfettered by forest canopy. Where light manages to break through, it sparkles on the surface of the water, and highlights the multicolored rocks glistening in the shallow embankment. As the river meanders around the bend, its destination is obscured; an enigmatic mist has settled upon the horizon.                                            
      Radiating out from the center of the picture plane, light travels in a diagonal towards the viewer's gaze creating a balance to the lustrous haze in the distance. In the foreground, upon the surface of the dusky blue water, fiery red leaves have fallen to continue their journey upon the river's current, serving as reminders of the turning tide of the season and the miracles embodied within nature.

©Katherine Shevchenko - Art Consultant, J.R. Mooney Gallery, Boerne


Friday, December 5, 2014

Wednesday, August 21, 2013

Turbulent Times of 1959 transforms One Artist’s Work

Abstractions of Jose Vives-Atsara
Turbulent Times of 1959 transforms One Artist’s Work

 From the uphill battle for immigration reform in Arizona to the national climate on illegal entry; one that can or cannot support job growth, we are inundated with daily reminders of this population problem.
This is not a new story, headline, or government headache.  From the flux of Cuban immigrates to the Bracero (Workers) Program (1949-1964), the U.S. saw a large push of new international populations grace its shores in 1959.

While, internationally the Dalai Lama was fleeing to Lhasa with a large population of Tibetans, The Cuban Revolution was flexing its muscles, displacing thousands during such times, Hawaii and Alaska join the United States of America surging its national census.

1959 was also a monumental year for one international artist striving to call San Antonio home- - Jose Vives-Atsara.  Born April 30, 1919 in Vilafranca del Penedes, near Barcelona, Spain, his artwork is collected internationally.  Highlights of his artistic career include a city of San Antonio initiated gift to the Pope John Paul II for the Vatican presented by Archbishop Patrick Flores in 1987 to painted contributions within the art collection of Juan Carlos, King of Spain.

Returning to Spain in 1958, the Vives-Atsara family grew homesick for the life they had in the U.S.  In March 1959 Jose Vives-petioned for re-entry to the U.S. as a locally supported and sponsored artist which was approved and forwarded to the American Consulate at Barcelona; with he and his family returning to San Antonio July 20th.

In Oct. 1959, Vives-Atsara gained a position as visiting lecturer at Incarnate Word College

“Vives-Atsara remembered that a San Antonio immigration official advised him to obtain a teaching position in order to become a permanent United States resident. The immigration service would view his employment by a college as evidence of his economic independence and his cultural value to San Antonio and the nation”, writes Nancy Glass West in Jose Vives-Atsara, His Life and His Art.

To see inside the artist’s mind, you see a world turned upside-down –international relocation, new job, new house, etc. etc.  Now think about how your outlook, inspirations, muses, and art would change if you experienced such stressful changes. Not to be pigeon-holed, Jose Vives-Atsara was already known for his still-lifes, portraits, landscapes, and wildflowers, but he began to paint a series of  abstract landscapes with his signature 11 color palette; a choice one might think was reflective of the chaos of such personal upheavals and distresses.

Abstract Landscape
Jose Vives-Atsara

Abstract Landscape by Vives-Atasara illustrates this new exploration of intellectual abstraction. Closing in on the rocky pathway like some overgrown Tim Burton landscape, the trees line the gauntlet, creating a foreboding effect on top of artistic mystification.  Adding to the mystery is the fact we do not know if Vives-Atsara is painting the Guadalupe River, the Texas Hill Country, the Spanish countryside, or the various seascapes that captured his attention.

“My using a palette knife, a spatula, happened accidently.  The professors that taught me always used brushes.  I experimented with the spatula and I like the result; it added improved texture and spontaneity to my paintings.  An artist must be educated in the standard techniques of painting, but there is no substitute for his personal daily experience and his mistakes”, says Vives-Atsara.

With quick whips with the palette knife Vives-Atsara cuts into the paint, creating cactus needle-like textural accents in select areas.  Red, orange, blue and yellow swatches of color dance across the composition.  We begin to see the piecemeal landscape scene as our eyes digest the familiar outlines; trees, rocks, and path.

©Gabriel Diego Delgado/ J.R. Mooney Galleries


J.R. Mooney Galleries of Fine Art currently has a collection of 5 abstract landscapes and village scenes available for purchase.  

Thursday, July 11, 2013

Gantner Strikes again with a beautiful floral



Gantner


Floral Bloom

48” x 36”
$3,200

Born in in Seoul, South Korea in 1948, Gantner started his appreciation of art at an early age.  He continued to feed his artistic desires throughout his teenage and young adult life, arriving at a signature style from years of education.

A prolific impressionistic landscape painter, Paul Guy Gantner was determined to get into the minds of the masters like Poussin, Rubens, and Monet.   He even returned to Giverny to repaint Monet's Japanese bridge and water lilies. Studying the intrinsic methodology of pure impressionistic painting, Gantner found a voice.
Floral Bloom is a pictorial rendition of his direct influence by this scholarly affection to art history. The bountiful fields of flowers are marked with various gestures; made in sweeping motions, dabbed with brushstroke intricacies, minimal applications, and swift raps of paint, each diversifying the ever-expanding countryside of knee-high floras.

Although repetitious, the movement through the turpentine turf is projected with enough fading color and contrasts, while accompanied by sufficiently blurred specks of perfumed petals that we seem to accept the artist’s rendition of pictorial space; not flat, but curved with pitches and rolling grounds that add sweeping movements, ones that guide our eye back to the misty horizon, marked by a smoky one-point perspective.
Angled tree lines on the right and left horizon line guarantee a spoon fed streamline to the murkiness that is centered above the field, laying groundwork for a philosophical moment of what lies beyond the fog-an unknown, a hypothetical what if, marked by the pure positive aesthetic of flowers luring us to the beyond.

© Gabriel Diego Delgado

Gantner in his studio in Korea


Thursday, May 2, 2013

Mark Keathley - Second Saturday Art Crawl Boerne, Texas



-Mark Keathley is honored at J.R. Mooney Galleries- May 2013 Second Saturday events.

After being awarded the “Artist Patron Award” at the Briscoe Western Art Museum’s Night of the Artist exhibition, Keathley lets loose with a metaphysical trichotomy of new paintings at J.R. Mooney Galleries.
Frio Hues, Oil on Canvas

--- COME SEE ONE OF THE BEST CONTEMPORARY WESTERN PAINTERS OF OUR TIME!!!- MARK KEATHLEY
Known more as a nostalgic landscape and scenery painter, Mark has done some amazing work painting and illustrating the Native Americans, Old West, Texas Wildlife as well as an abundance of other subjects and genres. Mark Keathley’s evocative sensibilities are hammered home with lively landscapes and nostalgic pictorial epiphanies of Western Cowboy and Native American cultural identity.  Keathley’s painterly essence is found in his quasi-hyper realism.  Capturing water ripples, muscle contours, textures and various other details, Keathley proves that Contemporary Western Art is making significant contributions to the Art World. 

In the early 1990’s, he entered a couple of paintings in the Cheyenne, Wyoming “Old West Museum Show” and won a couple of awards for his work. He also attended the “Texas Ranger Hall of Fame Art Show” in Waco Texas and twice won the “Popular Vote Award” for a couple of his pieces two years in a row.

Another Good Year, Oil on Canvas


Mark is able to capture that perfect moment that you might experience on a hike through the mountains when a majestic elk might come out for an unforgettable experience; or even immortalize on canvas a moment in time when the light, the water, and the gentle involvement of a man and his horse all come together in a masterful composition…This is where he wants you to stay - not admiring his ability, but rather inspired to live.   -www.markkeathley.com

Who:
Contemporary Western Artist, Mark Keathley

What:
Second Saturday Art Walk- May 2013

When:
Saturday, May 11, 2013 4 pm – 8 pm

Where:
J. R. Mooney Galleries of Fine Art
305 S. Main St. Boerne, Texas 78006

Wednesday, April 3, 2013

Samir Sammoun


These 5 new paintings by Samir Sammoun at J.R. Mooney Galleries are part of an expansive selection of his work now available at the gallery after his successful showing at NYC ArtExpo 2013.  Mr. Bob Mooney has made available 9 new paintings by Samir Sammoun in the San Antonio gallery.

Samir Sammoun was born in 1952 in a quaint Lebanese village perched atop the Chouf Mountain, 40 km south of Beirut. To this day, the artist vividly recalls the colorful Mediterranean landscape of his childhood. At age 21, Samir immigrated to Canada where he obtained degrees in electronic engineering and telecommunications. Since graduation, he has pursued his professional career as well as his passion, painting.

See more of his work and an artist bio at http://sammoun.com

To purchase these works by Samir Sammoun and others, Call 210.828.8214
 

Amadiers
30 x 40"
$15,000

Champ de ble Bekaa etude
8 x 10"
$1800

Beyad homage Amon pese
24 x 30"
$9000
 

Ile de Orleans
12 x 16"
$3480

Vallie e la Bekanet Mont Liban
16 x 20"
$560
 
 
 
 
 
 
 

 

Tuesday, March 19, 2013

A generic gestalt of tranquility from Richard Riverin


Le Ruisseau
Richard Riverin
30” x 24”
Oil
$7250

J.R. Mooney Galleries of Fine Art
San Antonio, Texas
210-828-8214

A serene sky of cerulean stratums create a tiered arrangement of artist-invented blues and whites. The two houses are so plain in structure that they elude to an artist memory more than an actuality, each one with its own simplified tree. Riverin cares more for the impressionistic qualities of the setting natural light and dominate shadows blanketing the opposing walls of these residences. He completes this trademark landscape with picturesque buildings, but names the painting for the stream that trickles in through the lower half of the painting. 


 Several strong horizontal linear elements act as visual steps as we are led from horizon to riverbank to opposing shore and down to the foreground; all painted with repetitive palette knife swatches that compliment the levelness of the composition with their hard edged impasto ridges. Accents of a patented crimson color compose the brush, the only evidence of a turning season. 

Gleaming with a generic gestalt, Le Ruisseau succeeds as a straightforward and generalized account of ones man’s artistic vision.

© Gabriel Diego Delgado

Thursday, January 17, 2013

Chemistry in Today's Artworld


Richard Riverin
Artistic Chemistry

-Gabriel Diego Delgado

Art Creditability is not always evident when looking at fine art. We can review visual prestige based on art history, personal preferential comparisons and other factors that play a role in how we appreciate what we see in a studio, gallery or museum.
Yet, sometimes the back-story is as interesting as the aesthetic; the building up of a personal artist chronicle that forms a foundation in which we mentally seize and utilize along on the ride of our art experiences and admirations.

Richard Riverin is an artist whose past successful career(s) shaped where he has arrived today, giving us a playful epiphany of collaborative efforts; Scientist turned manufacturer, turned gallery owner, turned professional artist.  Often mislabeled, maybe a bit of nonconformist, Riverin’s artwork cannot be pigeonholed into a simple Impressionistic genre. Sure, on first glance, all the right components, ingredients, and compositional constituents ring true for such acceptance into Art Historical classifications.  But, “none shall pass”, I say. “You blinded me with Science! I cry.


Comparatively yes, we know Robert Gamblin of Gamblin Artist Oil Colors ™ developed his own oil paints with alkyd resins mixed with pure pigments, raw materials and Gamsol odorless mineral spirits. While century old Winsor & Newton Artist Oils has been using the same chemical standard since 1832; providing great artists’ standard products used in timeless impressionistic paintings over the last hundred years.  Fast forward to contemporary chemist pioneers like Richard Riverin who is pushing the limits of synthetic polymers for 21st century applications.

It’s not very often that the scientific world crosses paths with the art world. Yves Klein dabbled with this discipline in the 1960’s with his patented ultramarine IKB (International Klein Blue); a synthetic granulated polymer was used exclusively by him in his anthropometries series of monochrome paintings.

And now, Richard Riverin, the chemist/artist patents a new high gloss synthetic polymer to use in Fine Art. A painted canvas that can be rolled, without fear of cracking; paint with a flexibility that has not been seen in the fine art realm before. Unique to his art, Riverin has an ability to be a game changer while maintaining a certain traditional and classical artistic genre. Two worlds colliding for artistic achievement, Impressionism and artist patented synthetic polymer paint.



“Early Snow”, is a 20” x 24” landscape of some nondescript setting.  Washed-out tones mixed with a foggy-like ethereal, cancel any second glance in normal circumstances. There is nothing to hold the eye, color wise,- no “push and pull” of vibrant edges, hues or contrasting colors {A Fauvism favorite}. But hold onto those “rose colored” glasses of positive vibrations, layers and layers of scraped on paint, gestural swipes and strikes; subtle blending of streaks create activated surfaces that are reminiscent of segmented plates on tortoise shells. High gloss swatches of color come together like Seurat pointillism on steroids.  Groupings of three hence back to a sacred undertone of the Divine Trinity; a throwback to his devout religious beliefs.


Flat spatial dimensions arise from the general application of chosen pigments. There is a visually distinguishable front, middle and background, but with identical sized dabs Riverin’s flatness contrasts typical paintings of this genre. He wants us to focus on the multi-directional visual strokes juxtaposed by the vertical trees. A double cobalt blue horizon line is used to differentiate the planes. But purposeful carvings are done alongside the trees and shrubbery, outlining the subject matter, distinguishing it from the “all over” painterly applications.

Part businessman, part artist, Richard Riverin has laid the groundwork for a flourishing artistic career with successful ventures at the ArtExpo, New York and many solo exhibitions in the U.S. and abroad.

© Gabriel Diego Delgado
website: www.jrmooneygalleries.com


"Early Snow" is available for sale at J.R.Mooney Galleries
210.828.8214


Monday, January 7, 2013

Peaceful Creek by P. Salinas circa: 1924




Peaceful Creek
Porfirio Salinas (November 6, 1910 – April 18, 1973)
9” x 12 “
Oil on board
Circa: 1924-1926

--Every once in a blue moon a fine art gallery will acquire an unusual and unanticipated artistic gem. Peaceful Creek by Porfirio Salinas is the title holder for such an occasion…

Salinas, an Early Texas landscape painter gained recognition for his stylistic depictions of the Texas Hill Country.  President Lyndon Johnson’s collection and appreciation of Salinas’s artwork helped solidify his reputation and legacy as a “godfather” of Bluebonnet paintings – a status shared with the likes of another Texas famed painter, Julian Onderdonk.

Peaceful Creek is a raw landscape depiction of a rugged river varied with minimal vegetation and jaunt tree-lines. Circa 1924 to 1926- Peaceful Creek was ostensibly executed between the ages of 14-16 years old; Salinas’s teenage years reflective of his meeting and mentoring with painter, Robert William Wood. 

An overwhelmingly awkward and domineering tree with its unnatural bend stands as a homage to an untrained artistic eye- a virgin of artistic mentor-ship  A drab color palette lingers on overly mixed, with no one color popping, pulling, or anchoring the nondescript setting. Working through a visual depiction of textures, movement, color values and relationships, scale, and composition, we see Salinas investigate, struggle, and problem-solve at such an adolescent age.  Playing configured volley from left to right; the main vertical element is haphazardly haggard, drawing the viewer to the insignificant but centered and visually blurred tree in the hollow background. Bouncing to the left of center, the gaunt model of sickly arboriculture flexes its gangly roots that protrude like ingrown nails; painful to look at but necessary for balance. Directly off this skeletal species of withered shrubbery we are entranced by the bubbling brook and sparse watery rapids.  Bathed with an overabundance of white paint applications, the rocky diagonal of river rapids leads us into the shallow mid-grounds of a generic stream and riverbed addresses.

But crude in all its grandiose attempts- the flair, admiration and celebration of this atypical art piece lies in the artist’s sincere undertaking.  In essence, the unrefined reverence of such an adolescent artistic epiphany rallies in an overtly outsider Art Brut gestalt.

© Gabriel Diego Delgado
gabrield@jrmooneygalleries.com
*Peaceful Creek available at J.R. Mooney Galleries
210-828-8214