The great American West has long captivated the curiosity and hearts of many, from explorers to scholars and scientists to artists. This issue of Art Connection celebrates the splendor of the West, from the desert Southwest depicted in Heidi Rosner's watercolors to the heritage of cowboy culture shared in Curt Mattson's sculptures. Discover artwork that celebrates the beauty of the West and some must-see places. Enjoy!
ART CONNECTION By the Celebration of Fine Art
Vol. 2 Issue 4 Summer/Fall 2024
depicting the great american west
pushing watercolor to the limits
editor’s WELCOME T he allure of the American West is alive and well. Wide open spac- es, majestic mountain vistas, pristine waterways, stunning colors and magnificent wildlife have all been the muse of many artists who have a deep desire to capture the feeling of the beautiful Amer- ican West on canvas, photographs or sculpture. From the days of Native Americans, to the Westward expansion and still today, artists are inspired to share the feeling and the story of the West expressed through their art for us to enjoy. The vibrant colors and shapes of flora and fauna have long captivat - ed watercolorist Heidi Rosner. In our Artist Spotlight, you’ll discover how she experimented until she found the perfect substrate to allow her to bring her canvases to life through her bold experimentation with watercolor. With her combination of vivid colors, crisp details and velvet like textures, the viewer can feel as if they are right in the middle of nature seeing the world through her eyes. As you turn the page to the feature “The Way Westward: Depicting the American West”, we take a look back to some of the trailblazing artists who opened our eyes to all that the West has to offer. From the Native Americans to the likes of Charlie Russell, Thomas Moran Fred- erick Remington, Georgia O’Keefe and Maynard Dixon to the artists of today, we are fortunate to be able to enjoy art that captures the spirit of the West. Whether historically accurate or a contemporary interpre- tation, each has a place in the story of the West. The gift of art allows us to revisit and enjoy the moments captured by these talented artists. Take a peek inside the working artist studio of cowboy rancher turned artist, Curt Mattson. Curt is a quadruple threat as he is a master of sculpture, oil painting, watercolor and dry point etchings. A story- teller at heart, he accurately and lovingly shares the story of the life of a working cowboy and life on the open range. His works of art are lessons in history and preservation of the Western lifestyle, sometimes with a touch of good humor. Finally, we invite you to explore the American West through our “Parks and Places” feature. We highlight just some of the amazing national parks, surrounded by cool towns that further share the story of the West. There is so much to experience and enjoy in this wonder- ful world we live in. We are grateful to the artists who help capture the moments, stories and lifestyles so we can experience and enjoy them no matter how near or far. We look forward to having you join us in person for the 35th Anniver- sary Celebration of Fine Art, January 18 – March 30, 2025 in Scottsdale, AZ. Until then, stay in touch through all of our social platforms.
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ARTIST SPOTLIGHT: HEIDI ROSNER Meet the watercolor artist who invented her own substrate so she could paint on nearly any surface.
THE WAY WESTWARD: DEPICTING THE AMERICAN WEST The great American West is an alluring place that has long beckoned to curious explorers, artists and travelers alike. From the wildlife to the culture and awe-inspiring geology, meet some of the artists–– past and present––who passionately share the rich stories of the West through their work. FROM THE ARTIST STUDIO: A CONVERSATION WITH CURT MATTSON Journey inside the desert Southwest studio of Curt Mattson and discover how it inspires his work. PARKS & PLACES: EXPLORING THE AMERICAN WEST The West is home to some of the most iconic national parks in North America. Explore some of these parks and "cool" towns that neighbor them.
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Artist Spotlight: Heidi Rosner
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The Way Westward: Explore the great American West through the lens of the artist.
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On the cover: "Triple Threat", 36"x36", watercolor, Heidi Rosner
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ART CONNECTION DISCOVER NEW AND CONNECT
From the Artist Studio: Venture inside Curt Mattson's Cave Creek art studio.
CONTACT US Celebration of Fine Art 7900 E. Greenway Rd., Suite 101 Scottsdale, AZ 85260
480.443.7695 | info@celebrateart.com celebrateart.com
14 Parks & Places: Discover some of the West's iconic national parks and funky, fun nearby towns.
With gratitude, Susan & Jake Potje
Issue 4 | Summer/Fall 2024
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and interactive experience. “As a watercolorist, you have to ‘leave the whites,’” she said. “You paint around things. So, that negative space is just as meaningful as the subject. Similarly, when I look at a piece of art in a room,
As for subject matter, Heidi continues to be inspired by the flora and fauna of the desert Southwest that, luckily for her, is omnipresent just beyond her front door. And luckily for her collectors, she is constantly outdoors, on the hunt
for special moments to capture and stories to tell.
Watch Heidi's interview here.
for example, I like to pay attention to the negative space around the painting. One of the ways I’m playing with this idea is with differ- ent shapes and collections of things, but not in grids. Col- lections of different shapes and sizes. Come to the Cel- ebration next year and you’ll see what I’m talking about.” Always be challenging Like many artists, in addition to the continuous explora- tion of ideas, Heidi continu- ally tries to challenge herself. This might be through new subject matters or rethink- ing the way they typically represent those subjects in their work. This year, it happens to be the latter for Heidi. “I tend to paint with a lot of detail in my work,” she said. “But sometimes it’s too much detail and you lose the focal point. So, one of the things I’m trying to do is back off from including every cactus needle or every feather painted precisely on my birds. I’m going for a looser representation. Even though it’s still representa- tional and there’s still a lot of detail, I’m backing away from some of that because I think some of the art is lost in the representation.” Rather than fill in all the blanks for the viewer, Heidi wants to create opportuni- ties for them to fill in their own blanks and create their own individual expe- rience with the piece. And no doubt, by challenging herself through experimen- tation, she’s also inviting viewers to be delightfully challenged, which is what art is all about. Top: "Hedgehog" 24x24; "Cereus'ly" 24x24. Middle: "Hummer with Penstemon" 8x8; "Springtime Lupine" 8x8; Bottom: Heidi collects reference photos––a favorite pastime.
Heidi Rosner at work in her studio.
T hey say necessity is the mother of invention, but it only leads there if the person in need is willing to put in the work to find or build a solution. And that happened to be the case for artist Heidi Rosner. Nearly two decades ago, when she began selling her watercolor work, she kept encountering a similar response: collectors loved her work but other variables kept running interference. Many either didn’t want it behind glass or didn’t want it matted or they didn’t like the frame. At the same time, other artists were (lovingly) encouraging her to explore other mediums. While she experimented with oil and acrylic, Heidi’s love for watercolor was too much to just walk away from it. So, she got to work searching for an alternative that would allow her to move away from traditional watercolor on paper and thus away from framing entirely. Science and art coming together Luckily, Heidi came from a long career in science and engineering, so experi- mentation was in her wheelhouse. “I started experimenting with some of the watercolor boards that were just starting to come out at that time, like
Keeping the experimentation alive Heidi’s appetite for experimentation hasn’t quelled, but now it’s more di- rected at things like subject matter and composition. “I’m continuing to delve into what I started last year with the Serenity Collection, which are the pieces that have the white backgrounds, but I’m going to put a different twist on some of those,” she said. “I’m also working on several pieces that are interesting shapes for standard subjects of mine.” Anyone familiar with Heidi’s work might be quick to recall some of her tall, narrow paintings of saguaros, blooming agave and other verti- cal-growing botanicals. But this year, she began challenging herself to look at subjects from a different point of view. That invited the opportunity to explore painting wider, horizontal subjects and compositions but in a vertical format. “I’m experimenting with shapes of plants and bird compositions that ar- en’t traditional,” she said. “For example, a tall, skinny piece of a prickly pear. You wouldn’t normally imagine something like that to be in that format.” In addition to non-traditional formats, Heidi is also looking at how she can ex- pand the idea of negative space beyond the canvas to create a more immersive
Aquabord,” she said. “I got some pretty good results, but I was very limited in terms of size and I like to paint big.” Next, Heidi turned to watercolor ground, a liquid primer that can be ap- plied to various surfaces to make them receptive to watercolor. And again, she was getting decent results, but she wasn’t able to achieve the level of vi- brancy and saturation of color that she was getting with paper. That’s when things got interesting. “Because of my background in sci- ence and engineering, I decided I was going to try to come up with a sub- stance of my own,” Heidi said. “I experi- mented for several years before I came up with what I use now––a combination of four different things used in a certain order.” Her dedication to finding a solution paid off. Not only did it free her to paint at any scale and achieve the richness of color she was after, it led to what has become her signature style and opened her work to collectors who had previously overlooked watercolor. “I never anticipated coming up with something of my own, but I love it,” Hei- di said. “I can use the same preparation for every substrate. So, I can paint on almost anything.”
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The way westward: depicting the american west
"Tales of Time", Light Hunter Fatali
"Perfect Day in the Canyon", 34" x 48", Kirk Randle
"Her Reins, Her Rules", 48" x 48", Shannon Leigh
"Warrior Poet", 33" x 24", Jonathan Noon
in establishing the Yellowstone re- gion as a national park. This painting, along with his sketches and photo- graphs by fellow expedition member William Henry Jackson, communicat- ed the magnificence of Yellowstone in a way that written descriptions couldn’t, motivating then-president Ulysses S. Grant and the US Congress to preserve the land. A couple states to the south, modernism artist Georgia O’Keeffe was putting New Mexico on the map through her striking abstractions of the desert Southwest. As she painted the distinctive landscape and archi- tectural forms of Abiquiu and Ghost Ranch, the area came to be known as “O’Keeffe country”. To this day, her work is still drawing countless visitors to the region. Preserving the Heritage We’re fortunate to have many mod- ern-day artists who are equally as passionate about preserving the rich heritage of the great American West. Through their various interests and flair for storytelling, we get to expe - rience the cyclical and intriguing movement of wildlife throughout the West’s vast mountain ranges and lush grasslands, the stories and tradi- tions of Indigenous people and early settlers, and the mystifying geologi- cal formations that dot the region. These artists also immerse them- selves in their chosen subject matter, not just to gather reference mate- rial, but because they have a deep passion and respect for it. Artists like David Jackson and Kirk Randle who
are passionate about sharing the sto- ries embedded in Western landscapes spend a lot of time near rivers, basins and mountains. Similarly, Jonathan Noon, who is centrally focused on figurative realism, particularly of the American West, believes the history of these landscapes is most emblemat- ic of who we are and from where we came. “Through my work, I aim to trans- port the audience to a world where history meets the present.” Wildlife artists Trevor Swanson and Cathy Sheeter have also traversed and camped in some of the most remote and ecologically diverse regions in the West, all to capture the unique behaviors and majestic energy of var- ious species from bears to bison and eagles to wolves. Then there are photographers like
Jon Linton and Light Hunter who initially sought out the desert South- west for serenity and calm, and now strive to share the feeling with others. Whether sitting in a slot canyon, on the edge of a canyon or in a remote desert flatland, these photographers will spend hours, if not days, waiting for just the right light and that perfect shot––one that captures the true es- sence of the place. Through their intimate knowledge and interpretations of their experienc- es, we get to see and feel the West through a rich tapestry of diverse perspectives and stories. Embedding in the West Many of the early artists were able to capture the true spirit of the West so eloquently because they embed- ded themselves in the region and
the culture. Some relocated entirely, others joined surveying expeditions of archeologists and explorers while oth- ers gathered firsthand ethnographic research. George Caitlin for example, was determined to record the culture and heritage of Native American tribes. In the 1830s, he began a series of vis- its to various tribes, primarily in the Great Plains resulting in his “Indian Gallery”, which included more than 500 paintings and artifacts from his observations. Maynard Dixon, though a native of the West, went on a series of nota- ble sketching and exploratory trips throughout various Western states and Mexico. One with iconic Western artist Edward Borein in which the duo traveled horseback through several western states. Another brought him
t he expansion westward during the 19th century is one of the most significant and character - izing themes of American history. It represented optimism, indepen- dence and discovery. And though the lure of the West may have initially been sparked by the ideals of economic opportunity and free- dom, it also kindled an insatiable curiosity in the hearts of many from explorers to scholars and scientists to artists––and it’s a fascination that continues to this day. That fascination has long been documented through ledger drawings and art in all of its various forms and mediums. In the early days of westward exploration, art provided Easterners a window to the uncharted and mystical West like written and oral depictions couldn’t. Sculptures, paintings, drawings, photography and lithographs––cre- ated by some of the greatest artists in American history––captured what life, the land and the culture were like. And it left an indelible legacy that continues to inspire, educate and invite us to experience that rich part of American history. Raconteurs of History Over the centuries, countless artists have been called to share the stories of the West, captur-
ing moments in time, changes in landscape, and the relationship between humans, animals and nature. Through the individual artist’s lens, subject matter and style, we’re exposed to diverse perspectives. We get to experience the culture of Native American tribes, peer into cowboy and rancher life, and get a front-row seat to awe-inspiring canyons, sunsets and majestic wild- life––things we may not otherwise be exposed to if not through art. In fact, a number of 19th- and early 20th-century artists such as Charles Marion Russell, George Catlin, Albert Bierstadt, Thomas Moran, Frederic Remington, Geor- gia O’Keefe, Maynard Dixon and Ed Mell have been heralded as valu- able chroniclers of the old Amer- ican West. Theodore Roosevelt said of Remington’s work, “...he has portrayed a most characteristic and yet vanishing type of American life. The soldier, the cowboy and rancher, the Indian, the horses and the cattle of the plains, will live in his pictures and bronzes, I verily believe, for all time.” Similarly, Thomas Moran, known for his idealized landscape paint- ings of the West, has forever em- blazoned the spirit of Yellowstone in the minds of many. His painting, “The Grand Canyon of the Yellow- stone,” actually played a crucial role
"Softly the Wind", Jon Linton
"Wyoming Cattle", 48" x 60", Anton Nowels
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“My paintings are a love letter to the American West. I’m endlessly fascinated by its history, geography and wildlife.” -Andrew bolam
Opposite page, clockwise from top left: Artist Andrew Bolam at work in his studio; "Grazing in Afternoon Splendor", 48"x60", Kirk Randle; Artist Shannon Leigh at work; Kirk Randle painting on location; "Courage", 48"x48", Andrew Bolam; "Tranquil Moments", 20"x30", David Jackson
to the trading post owned by John Lorenzo Hubbell in Ganado, Ariz., exposing him to the Navajo tribe and culture––inspiring a new fascination. Accomplished painter, sculptor, illustrator and storyteller, Charles Marion Russell (Charlie Russell) also believed in gaining an intimate understanding of the land and the people. Just before his 16th birth- day, he moved to Montana where he worked various ranching jobs for 11 years. He also spent several years living with some of the Native American tribes of Montana. This experience contributed to the distinctive realism and captivating narrative that came through his portray- als of cowboys and Native Americans. Through exploratory trips, conversations with people of the land and encounters with the wildlife, they felt they could tell the real story of the West rather than a romanticized version of it. Of course, many artists contin- ue this tradition today––tak- ing trips to remote lands, camping out to wait for that
perfect shot, entrenching themselves in cowboy culture and forming relationships with tribal communities.
Continuing the Love Affair For artist Andrew Bolam, his connection and fascina- tion with the West began when he was a child grow- ing up in Northern England. “I was in love with "West- ern" movies and TV shows,” he said. “Windswept deserts, soaring mesas and snow- capped mountain peaks were just so different than the rolling green hills of Nor- thumberland. I daydreamed of cowboys and Native Americans, wolves and griz- zly bears.” Andrew’s love of the West has become the focus of his life's work in which he aims to provoke questions or propose observations of specific subject matters. For instance, his “Native Amer- ican Portrait” series exam- ines, with deep affection and respect, the first people to inhabit these lands. “These images have be- come deeply ingrained in our culture, instantly recog- nizable yet mysterious and thought provoking,” Andrew said. “Much in the same way Andy Warhol used the image of Marilyn Monroe as more than a portrait of one person but an iconic repre- sentation of pop culture, I hope to convey a powerful respect for the important place Native Americans oc- cupy in the ongoing history of this country.” For artist Kirk Randle, the varied terrain and sheer natural beauty of the West––from the majestic mountains and wildlife to the vibrant sunsets and
vative modernist, believed in, as she put it, “...creating an equivalent for what I felt about what I was looking at––not copy it.” She looked for the abstract forms she believed were inherent in nature already, often zoom- ing in on the most minute detail of an object. Celebration of Fine Art art- ist, Shannon Leigh also por- trays stories of the West in unconventional ways––see- ing it through the intersec- tion of culture and history. Inspired by the connections made between the shards of glass in classic stained glass artwork, her work uses bold lines that unite fragments of an imaginary narrative in a bold, dynamic way. “I’m portraying legends and objects of the West in the contemporary––roman- ticized lived experiences with historical references often contrasted by the cross cultural predicament that is the 21st Century, she said. “Carrying the torch of the West depicted in paint–– iron and leather, hoof and feather, motors and boots, cactus and canyons, sunsets and guitars, and through the strong jawed profiles of it’s people, I might be keeping the West a little wild.” No matter how they choose to portray the West as they see it, the common thread between all of these artists is an undeniable love for the independent spirit that pulses through the region.
Blazing New Trails While many of these artists used their firsthand experi - ences to create very realistic depictions, others threw out convention, approaching the West in dramatically differ- ent ways. One such artist was Ed Mell, an Arizona native, who became known for his striking, geometric South- western landscapes. Though he credits Maynard Dixon as a major influence on his work, Mell broke many of the rules of traditional Western art, inspiring and opening the doors for other artists to follow suit. Initially, his work wasn’t widely accepted, but Mell knew his subject matter intimately and saw an opportunity to present a new perspective––one that combined expressive realism and abstraction. O’Keeffe, another inno-
“In my paintings, I aim to empower with gusto, and touch the patina of souls that still burn for the independent spirit of the West.” -shannon leigh
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Alpenglow––have long compelled him to share his experiences through his paintings. “I feel like stories of my travels around the West can be very interesting and worth documenting,” he said. “I enjoy reflecting on a moment in time. One that was particularly meaningful to me was my niece’s wedding at a ranch in Moran, Wyoming. The painting I ren- dered of the horses grazing in a mead- ow and the light cascading down on the Tetons reminded me of the magnif- icence of God’s creation.” It’s those stark contrasts of the dra- matic landscape––the serene image of a peaceful meadow or calm waters set against the backdrop of towering peaks or rocky cliffs that seem to captivate so many and impel landscape artists to capture the beauty. That’s exactly what has drawn oil painter Anton Nowels to the American West landscape. “From towering alpine peaks to rocky coastline, the drama of this magnifi -
cent landscape draws me in,”he said. “It evokes both awe and curiosity, which fuels a respectful-but-persistent will to explore its limitless compositions. "To me, the American West land- scape—like many landscapes—tells a tumultuous story of tragedy and beau-
From the untamed spirit of the wild bison, mustangs and eagles to the expansive landscapes to the historic architecture, and rich culture of the Native Americans and cowboys and ranchers, the West is rife with stories–– historical and those yet untold. “When I think of the American West, I think of dramatic landscapes. The interaction of space, color, light and atmosphere can be calm or chaotic.” -Anton nowels
ty, conflict and peace, and the human quest for place and prosper- ity through harsh extremes and sublime in-be- tweens,” he said. “The history of this place is complex and full of strug- gle, but, for many, it also represents attainable oppor- tunity — if you’re willing to explore.” And there is much to explore.
Clockwise from top left: "Ridge Guards", 24"x48", Trevor Swanson; "Canyon de Chelly", 48"x60", Anton Nowels; "Last One Standing", 33"x35", Jonathan Noon; "Fresh Start", 11"x13"x4.25", Curt Mattson; "Proud", 14"x11", Cathy Sheeter
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Celebration of fine art
Curt Mattson A View From the Top Bronze, 24.5 x 17 x 6.5 in.
Experiences Artwork Mediums Artists
Jan. 18–Mar. 30, 2025 | Open Daily 10am–6pm Loop 101 & Hayden rd, Scottsdale, Az 480.443.7695 | TICKETS - CELEBRATEART.COM Experience in Person:
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from the artist studio
an 18-foot-tall piece by James Earle Fraser, and then I saw a drawing by Edward Borein and I thought, ‘What if I could try that?’.” Though the idea of using sculpture to preserve these stories kept tugging at him, it wasn’t until four years later that he decided to take a chance on the art business. That decision kickstarted a pursuit to achieve mastery in the art world and he hasn’t stopped. “I realized, through art, I could tell the stories of the West in so many different ways and it was really appealing,” Curt said. “I felt like the Lord just opened doors for me to be able to do that––to learn from really great artists. That's what happened with me–– one door after another.”
“When I walk up to my modeling stand, I can look out onto the desert and that’s one of the things that’s so great about this location,” Curt said. “We’re surrounded by so much open country. We can horseback every- where. So you’re always reminded about your subject.”
the sculpture currently getting his attention. It’s situated near a window that looks out onto the pristine desert and is equipped with lighting and a mirror that allows him to “read” and study the piece from different angles and perspectives. The area also houses reference ma-
A conversation Curt mattson wi t h
A dream decades in the making One very special door that opened for Curt was the door to his studio in Cave Creek. “When I was working ranches, I was building saddles on the side, and I’d have these little
Curt visits with one of his horses just outside of his studio.
But beyond the location, Curt also sees his studio as a relationship builder and he loves to invite others to experience this world. In fact, he set it up to provide a gallery-like experience with sculptures on pedestals and turn- tables, paintings and dry points hung on the wall, and appropriate lighting to boot. Opposite the gallery, however, is where the creative magic happens. Speckled with nearly half a dozen pedestals and paintings in progress, Curt likes to have several pieces going at any given time. But it’s easy to spot
terial from books to a horse skull and a figure model. It’s also where Curt rolls out his drypoint press to create his unique prints, which as it turns out, he’s one of just a handful of artists continuing to create this form of art. Most important, however, is the feel of the space. And for Curt, that’s essential to his work. “This is a place where I can come to just focus on what I’m doing and really enjoy it,” he said. “If you have great joy in what you’re doing, it reflects in what you create. This is a great space for that.”
places where I’d build them,” he said. “When I got into art, it was the same thing. I was literally in the corner of a bedroom or whatever I could use to work. But as you progress, you think, ‘My ideal would be X, Y, Z.’ But where we are now is greater than anything I ever dreamed about, and it’s such a blessing.” The studio’s location immerses him in his subject matter. He’s a short walk from the stables that house his and his wife’s horses and is surrounded by the desert of Cave Creek, which has its own unique cowboy history.
Curt Mattson works on one of his unique dry points.
A bout 30 miles north of downtown Phoenix, away from the hustle and bustle of traffic, city lights and high rises sits the charming town of Cave Creek. This is a town that’s steeped in Western culture and has a storied cowboy heritage. And within this town, on Cloud Road, sits the appro- priately located studio of long-time artist Curt Mattson. Curt has come to be known for his detailed and highly accurate depic- tions of the American West. But while his calling card may read artist, he’s equal parts storyteller and historian of North American cowboy culture. He’s passionate about preserving and sharing the rich stories of the buckaroo, and he uses sculpture, oil, watercolor and drypoint as his vehicles to bring others into the world of the horsemen and horse- women of the West. Preserving a culture through art “It's about the stories,” Curt said. “Not everybody has had the opportunity to live this life––and I have. It's my whole life. People love the West, but they haven’t
had the opportunity to be horseback. They don't know what it's like to be out in the middle of nowhere pushing a bunch of cows or to be on an old Bronte colt. You can take people into that world and my goal is to show them the real thing. It excites me to no end to tell those stories and they don't get told a lot.” Each medium affords Curt a dif- ferent way of communicating––the tangible form of sculpture engages multiple senses while the color and luminosity of watercolor and oil can draw the eye to specific details. But no matter the medium, whether on paper, canvas or bronze, the golden
threads throughout each of Curt’s pieces are attention to detail and accuracy. Because he’s aiming to leave a record of the buckaroo, Curt sees it as his responsibility to ensure each piece is accurate––from the bits on the hors- es to the hat on the cowboy or cowgirl depicted. Some of this deep knowl- edge he’s gained through ongoing extensive research, but he also grew up immersed in the world. From rancher to sculptor Until he discovered cowboy art, Curt was a rancher in Northern California and hadn’t entertained another pos-
Watch Curt's interview here.
"Blow Back", dry point, by Curt Mattson
"All American", oil, 24" x 36" by Curt Mattson
sible career path until one fateful visit to the Cowboy Hall of Fame. “It was 1979, and we were showing horses at the World Championships in Oklahoma City. I walked into the Cowboy Hall of Fame and I saw ‘End of the Trail’,
“I realized, through art, I could tell the stories of the west in so many different ways and it was really appealing."
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Exploring the American WesT Parks & Places Through the National Parks and nearby ‘cool’ towns that continue to inspire artists
stayed there. In 1956, it was named one of the Top 10 Roadside Inns in the US. Each of the national parks surround- ing Kanab is worth the visit for the breathtaking views and experiences. The red rocks, towering cliffs and deep canyons inspire peace and exhilaration, but they’re also filled with rich history and countless stories. "Something I learned about Zion, is you can camp alongside The Narrows," Pellman said. "So, you can turn it into a backpacking overnight trip where you start at the top and go down. The su- perintendent said that was his favorite experience he’s had in Zion." Yellowstone & Grand Teton National Parks + Cody & Jackson, WY Two of the most emblematic nation- al parks of the West are Yellowstone and Grand Teton in Wyoming. Both have inspired countless artists, includ- ing American painter Thomas Moran (1837-1926) who captured many of the waterfalls and staggering scenery of Yellowstone during an expedition with Ferdinand Hayden in 1871. Due in large part to Moran’s stunning visual inter- pretation of the area, Yellowstone was established as the first national park in the US on March 1, 1872. It encompasses 2.2 million acres of breathtaking views, majestic waterfalls and wildlife galore including the iconic bison that roam freely throughout the park. Just don’t get in their way. Just east of Yellowstone is the town of Cody named after Buffalo Bill Cody (1846-1917). In addition to exploring the Buffalo Bill Center of the West (five museums under one roof), enjoy the friendly and creative energy of the small town while perusing art galleries or watching local makers handcraft saddles, custom boots, hats and belts. While there, check out the Irma Hotel and the Chamberlin Inn to enjoy true Old West hospitality in style. On the southwestern end of Yellow- stone, you’ll find the entrance to Grand Teton National Park with its breathtak- ing landscapes including the majestic Teton Range. The park is filled with
YELLOWSTONE - WY
BRYCE CANYON––UTAH
grand teton––WY
moose, bears, elk, wolves, foxes, and hundreds of other animals, flora and fauna next to pristine waterways. Check out the fabulous National Museum of Wildlife Art located between Grand Teton National Park and Jackson near the National Elk Refuge. The town of Jackson is just south of the park and promises an immer- sive experience with its famous antler arches around the town square and Million Dollar Cowboy Bar. The town is filled with great art galleries and shops, but also offers opportunities for out- door experiences such as fly fishing and whitewater rafting. Rocky Mountain National Park + Estes Park, CO Cradled on three sides by Rocky Moun- tain National Park, the old frontier town of Estes Park is the perfect gateway in the Colorado Rockies. Big Thompson Avenue––named after the river that runs through this charming town–– is the main street. It is lined with art gal- leries, souvenir shops, artisanal brewer- ies, and delightful ice cream and candy stores. One such candy store is The Taffy Shop. It dates back to 1935 and today, you can watch taffy being made right before your eyes. Also be sure to stop in at the legendary Stanely Hotel, which
inspired Stephan King’s “The Shining”. This majestic, landmark hotel overlooks the town of Estes Park providing a stun- ning view, but the charm, history and ghost stories are reason enough to pay it a visit. As you walk through the town, don’t be surprised if you encounter an elk traffic jam. Indeed, they consider Estes Park as much their town as the resi- dents do (but give these locals their space). For a bird’s-eye view, take the bright red cars of the Estes Park Ae- rial Tram to the top of the summit of Prospect Mountain where you can see for miles. From there, make your way into Rocky Mountain National Park where you will find crystal clear alpine lakes, wild rivers, fragrant flora and fauna, and an abundance of wildlife including elk, mule deer, big horn sheep, black bears, mountain lions, bobcats, and rare Cana- dian lynx. American landscape painter Albert Bierstadt (1830-1902) captured the grandeur of the Rocky Mountains in many paintings during a land survey excursion in 1859. It might be worth looking these up before your visit to see if you can spot some of his subjects. From the Rocky Mountains, drive across the 48-mile Trail Ridge Road (open Memorial Day through mid-October depending on weather) reaching more than 12,000 feet in altitude where you will pass the Continental Divide. Don’t
forget to snap a photo from the top of the world! Exploring the American West offers a unique opportunity to experience the grandeur of nature and the charm of small towns that have inspired artists and adventurers alike. Whether it's the cinematic landscapes surrounding Kanab, Utah, the historic allure of Cody, Wyoming, or the breathtaking beauty of Rocky Mountain National Park, each destination invites you to create last- ing memories. As you wander through these iconic parks and vibrant towns, you'll find yourself immersed in the stories and landscapes that define the spirit of the West. And these are just a few of the awe-inspiring natural won- ders of the American West. Get out and explore, and don’t be surprised if you start to look at Western art with a new appreciation. Pellman recommends doing as much research about the park or town before you go. “Similar to art, the more information we know ahead of time, the more we’ll appreciate it,” she said. “You’re doing yourself a disservice if you don’t re- search the park ahead of time. So many of them have great preservation stories. Look past the top hikes, and dig into the history and stories of each park. These are national parks for a reason, so they're all worth checking out.”
"The SCout" ––CODY, WY
Photo credit: Tim Newton
T he American West is a treasure trove of natural beauty and cultural heritage. It’s where history, art and adventure intertwine. And where iconic national parks and their neighboring towns offer a mesmerizing blend of rugged landscapes and charm. From the awe-inspiring rock formations of Zion and Bryce Canyon to the majes- tic vistas of Yellowstone and Grand Teton National Parks, each destination promises an unforgettable experience. To add to the experience, many of these stunning national parks are surrounded by cool towns that provide their own rich stories and history making them ideal bases for exploration. Whether you collect art that’s in- spired by the remarkable natural archi- tecture of this region or simply admire it from afar, experiencing it in person can bring a whole new appreciation and perspective to the art and artists who capture its energy and beauty. The following are just a few of our fa- vorite locales. We also spoke with Mad- die Pellman, host of the “Who Runs This Park?” podcast, a show that features interviews with national park superin- tendents, about her tips, suggestions and favorite places.
Monument Valley, Bryce Canyon, Arches, Zion + Kanab, UT The red rocks of Kanab, Utah are sur- rounded by some of the most stunning national parks in the country includ- ing Zion, Arches and Bryce Canyon, and Monument Valley and the Grand Canyon in neighboring Arizona. These scenic vistas have inspired many artists including, premier artist of the West Maynard Dixon (1875-1946) and Arizo- na-native Ed Mell (1942-2024). Surrounded by all of these national parks, Kanab makes for a perfect home base. The small town has a retro West- ern flare in a laid-back setting. While there, check out the Parry Lodge in the heart of town. This historic property opened in 1931 and was once consid- ered the “Little Hollywood” of Utah. It was a home away from home for many of the cast and crew of the Golden Age of Hollywood including John Wayne, Gregory Peck, Clint Eastwood, Maureen O’Hara, Sammy Davis Jr., and Ronald Regan to name a few. More than 100 films were shot in and around the area inspiring the Parry Lodge owners to name the rooms after movie stars who
kanab, UTAH
Estes park, co
jackson, wy
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Issue 4 | Summer/Fall 2024
Issue 4 | Summer/Fall 2024
Page 15
SAVE THE DATE for 2025! The Celebration of Fine Art returns to Scottsdale January 18 – March 30, 2025 Keep in touch and shop for your favorites any time at celebrateart.com!
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