Definition List

ARTISTS IN LOVE, part nine

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Cowboy illustrator Charlie Russell (1864-1926) apparently melted down a gold nugget to make this ring for his 18 year old bride-to-be, the lovely Nancy Cooper of Cascade, Montana.



History does not record whether Nancy had qualms about putting on a saddle as a symbol of their marriage. Coming from a cowboy in the old west, perhaps such a ring even qualified as romantic.


Wedding picture of Charlie and Nancy, 1896

Before Charlie got married, his art studio was a back room in Jim Shelton's Saloon in Utica. After they were married, Nancy moved Charlie's studio into a respectable log cabin where she cleaned him up and sold his work. By most accounts she made him a success. It's not clear who really wore the saddle in their marriage. I suspect that, as with most long term relationships, the difference between who rides and who is ridden depends only on the time of day.

I kinda like this ring, both as a sculpture and as a symbol. Some might view it as a symbol of oppression, and perhaps it is, but there is a lot to be said for Robert Frost's insight into the true nature of freedom: "You have freedom when you're easy in your harness."

Charlie and Nancy seem to have been happy together. They lived through 30 interesting years of great change, until Charlie died of a heart attack. Then Nancy and their son packed up and left Montana forever. Years later, the US government established the
Charles M Russell National Wildlife Refuge near the beautiful place where for 30 years Charlie and Nancy spent their nights under the big Montana stars.


When I look at Nancy's ring, I can't help hearing the faint strains of an old calypso song that Harry Belafonte sang in the 1950s:

My girl's name is Senora.
I tell you friends, I adore her...
Senora's dance has no title.
Just jump in the saddle, hold on to the bridle.

.

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ONE LOVELY DRAWING, part twelve

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I love this apocalyptic drawing by John Hendrix, one of the more distinctive voices in the field of illustration today.



In the tradition of Brueghel and Heironymous Bosch, this drawing is dense with symbols and weird iconography. Hendrix implies a larger universe of prophecy and mysticism but he knows enough to stop with mere implication. As Carl Sandburg said, poetry is "the opening and closing of a door, leaving those who look through to guess about what is seen during that moment."

This is a smart, literate drawing, but Hendrix's graphic images are as strong as his content. He conjures up great symbols such as the train careening downhill and exploding on the bridge as the "pride of man" ( Isaiah 2:17: "The pride of man will be humbled And the loftiness of men will be abased.")



Equally striking is Hendrix's vision of the "axe of God" (from Matthew 3:10)



This drawing has a hundred little clevernesses but like all good art it is more than the sum of its parts. Look at how the components come together for a vertiginous effect: the perspective is all askew, as the earth opens up and the tidal wave with a face rushes over the horizon and the train speeds at an odd angle into the pit. Nice job-- a drawing that makes you think. And laugh.

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