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Sometimes a work of art hits you over the head (not necessarily literally). The reasons could be many. But it effects you deeply. Often in surprising ways.

This happened to me a week and a half ago.

It was at an art show in Santa Clara, Utah (near St. George). I was looking around, admiring the great art at the show when I was stopped in my tracks. What I saw caught me off guard: 2 lifesized painted mugshots by McGarren Flack.

They were brilliantly painted. And the frames were even carved to show the inmates height.

 

Mug Shot 140628, by McGarren Flack, oil on linen.

 © 2011 McGarren Flack. Used by permission.

 

The paintings were fascinating on several levels.

First, his technical skill is superb. The richness of color was a feast for the eyes. His talent for painting the figure is unarguable. And the surface quality of the paint was delightful. The paintings were amazing (I wish the images did them justice).

But, on top of that, he was able to capture the essence of his models. The mugshots were not simply a likeness. They told a story - even without the placard. Yet the placards added a bit of whimsy to the works.

 

Mug Shot 094731, by McGarren Flack, oil on linen.

© 2011 McGarren Flack. Used by permission.

 

Although McGarren only had 2 paintings from the series at this show, there are a total of 24 mugshots. The concept is that everyone is "guilty" of something. For some it's visible, for others, not so much. He took that idea and created a line-up of individuals with petty or insignificant "faults". Yet, we often "convict" each other of these petty traits.

McGarren created booking sheets to accompany the paintings.

In a solo exhibit of the works, he merged traditional painting with installation art. The 24 paintings were hung around the gallery at actual height, creating a line-up of the 24 inmates. I wish I could have see that complete exhibit.

 

Mugshot 202999, by McGarren Flack, oil on linen.

© 2011 McGarren Flack. Used by permission.

 

He is working on securing other venues to exhibit the show in its entirety. This is one artist worth collecting, and this series in particular. To view all 24 mugshots, click here.

 

 I have been a huge fan of LeConte Stewart’s art for many years.  LeConte (1891-1990), depicted his native Utah how he saw and experienced it.  He didn’t seek out the grandiose.  Neither did he embellish his landscapes.  Rather, he found delight in showing the beauty of the ordinary.  He said:

 

"Each generation has its own standards; what is good today may not satisfy tomorrow. Honesty with oneself should help, for after all only that survives which rings true in the hearts of humanity. Witness the work of Shakespeare in literature and Rembrandt in painting. Both of them pictured life as they knew it and saw it and were not concerned with the passing fad. Each was true to himself. Why cannot a man do that today? If he can and does, I believe his work will live." - LeConte Stewart

 

 

House by the Tracks, by LeConte Stewart

 

Barn in Snow, Liberty, by LeConte Stewart

 

On view in Salt Lake City, Utah are 2 exhibits showcasing different aspects of his work.  These exhibits run through January 15, 2012.  Focusing on his rural Utah landscapes is the exhibit at the Church Museum of History and Art in downtown SLC.  At the University of Utah Campus in the Utah Museum of Fine Arts is an exhibit focusing on LeConte’s Depression Era paintings.   Between the 2 shows, over 200 of his original paintings and drawings are on display. 

 

Country Funeral, Porterville, by Keith Bond

 

I was finally able to see the show when we were in Utah over Thanksgiving.  His work is stunning to see in person.  If you have reason to visit Utah before the middle of January, I highly recommend visiting the exhibits.   

 

 

The Smith's, the Jones', and the Brown's, by LeConte Stewart

 

LeConte is a master at capturing the subtle hues in nature, applied with impressionistic strokes of paint.  He studied under master landscape instructor, John F. Carlson in the early 1900’s.  Throughout his life, LeConte painted en plein air and taught art in Utah.  He was very influential among many of the Utah artists working today.  I was never privileged to study with him, but I have studied his work for years. 

 

One of the highlights of the Rural Landscape exhibit was a series of paintings depicting the same farmstead in Morgan Valley.  Over the course of several decades, at different times of day and in every season, LeConte continued to return to this site to paint.  Each time, he found something new that excited him.  On display were 5 or 6 paintings of this farm.  The two paintings shown below are from this series.  Some of the others depicted the farm from various vantage points.  But 3 or 4 of them were basically the same compositon.  Yet, each one is somehow fresh and unique.

 

Autumn, Peterson, Utah, by LeConte Stewart

 

Springtime, Morgan Valley, by LeConte Stewart

 

Most of you from anywhere other than Utah have probably never heard of LeConte Stewart.  He is under-recognized in the rest of the country.  In my opinion, he is one of the Greats of American art.  His work captures the soul of what he painted.  His voice was one of authenticity.

 

For those of you who are unfamiliar with his work, I feel that it is worthy of study.  A new coffee table sized book of his work will be printed later this year.  Click here or on the image below for more information about the upcoming book.  I hope that the book along with these 2 exhibits in SLC will help propel him to the national recognition that he deserves.  And I hope that you have gained an appreciation for a great painter of the American West through this little blog post.