Brown County Art Gallery Collectors' Showcase

BROWN COUNTY ART GALLERY

COLLECTORS’

SHOWCASE OCTOBER 2 – NOVEMBER 14, 2021

BROWN COUNTY STATE PARK Indiana’s Crown Jewel

A two-year exploration by artist Timothy Greatbatch BROWN COUNTY ART GALLERY · NASHVILLE, IN Sponsored by Sarah and John Lechleiter

BROWN COUNTY ART GALLERY

COLLECTORS’

SHOWCASE SPONSORS John and Sarah Lechleiter

OCTOBER 2 – NOVEMBER 14, 2021

DONORS Judy Stewart and Michael Fulton · Jenny Johnson · Rick and Brenda Kelley · Dr James Leatherman “THE LONG VIEW” LENDERS Bill Cowan · John Hansberry and Karry Book · Steve Miller Ewe Morse · Private Collection · Quirey Family Collection Ralph Redmond · Bob and Barbara Stevens

SHOWCASE EVENTS

ACKNOWLEDGEMENTS

Private VIP Exhibit Tour with artist Timothy Greatbatch

…and special thanks to wife Lisa from the artist

See Collectors’ Showcase 2021 from 10 am to 7 pm Free admission and parking

BROWN COUNTY ART GALLERY FOUNDATION BOARD OF DIRECTORS Lyn Letsinger-Miller · President Cheryl Eyed · Vice President Kim Cornelius · Treasurer Brenda Kelley · Secretary

Richard Halvorsen Dan Kraft James Leatherman Steve Miller

OCTOBER 22-24

FRIDAY, OCTOBER 1 · 6 PM

Jim Ross · Judy Stewart and Michael Fulton · Jon and Zelton Kay Jim Eagleman · Patrick Haulter · David Mow Gallery Staff and Volunteers · Brown County Art Gallery Artists Association Tess Kean, catalogue and print design · Winslow Ranch, media Brown County Visitors Center · Leo and Blair Miller, photography Mr Copy, Bloomington · Rowland Design, Noblesville Kevin Ault, catering · Brown County Winery Advertisers · Brown County Art Gallery Board of Directors

Jim Ross Paula Sexton Robert Stevens Bud Tackett

State Park Paint Out Artists will be painting throughout the Brown County State Park

Showcase Tour Early Buying Opportunity Wine and hors d’oeuvres Reservations $25

SUNDAY, OCTOBER 24

Paint Out Sale

Paint Out paintings go on sale at the Brown County Art Gallery SUNDAY, OCTOBER 31 · 2 PM

SATURDAY, OCTOBER 2

Postcards from the Park

Special Extended Gallery Hours

History lesson on tourism in Brown County with Indiana University professor Jon Kay $5 at the door · Entire Gallery open

BROWN COUNTY ART GALLERY LYN LETSINGER-MILLER, EXHIBITION CHAIR · JIM ROSS, EXHIBITION CURATOR · CHERYL EYED, CATALOGUE BrownCountyArtGallery.org · shop online BCArtGalleryOnline.org One Artists Drive · Nashville, IN · 812.988.4609

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GREETINGS

JAMES R. ROSS FINE ART

FROM THE FOUNDATION

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his exhibit represents a first. Never has Collectors’ Showcase featured the work of a living artist, but Timothy Greatbatch’s incredible body of work deserves center stage and certainly follows in the legacy of the great Hoosier Masters who founded the Brown County Art Gallery almost one hundred years ago.

Ninety-one paintings, created over a two-year period, in all seasons and time of day surely illustrates the love this artist has for his subject and his painting grounds. Art colony founder Adolph Shulz felt that same love on his first visit.

“It seemed like a fairyland with its narrow winding roads leading the traveler down creek beds through the water pools and up over the hills…

A sense of peace and loveliness never before experienced came over me and I felt at last I had found our ideal sketching ground.”

Georges LaChance (American 1888-1964) Old Friends

oil on canvas | 25 x 30 inches | signed lower right

exhibited: Brown County Art Guild, 1957 Fall Exhibition

I think Shulz and all the early masters would welcome Tim into their midst.

The early colony is here tonight as well in a special exhibit curated by Jim Ross called “The Long View”. While not focused on the area that was to become the state park, it’s those long views that attracted the early artists and still brings visitors to Brown County to see their glory.

The Brown County State Park is also approaching its centennial which started with a game preserve in 1924. In 2021 it was added to the National Register of Historic Places. It is a worthy subject for a great American artist, Timothy Greatbatch.

A special thanks to our exhibit sponsor, Sarah and John Lechleiter. They have become a major force behind Collector’s Showcase making it possible for the Foundation to not only put together a museum quality exhibit but to add many special programs and events surrounding it.

Please enjoy your journey through “Indiana’s Crown Jewel: the Brown County State Park” through the eyes of Timothy Greatbatch.

Lyn Letsinger-Miller · President Brown County Art Gallery Foundation

5627 North Illinois Street, Indianapolis, Indiana 46208 (317) 255-4561 | jim@jamesrrossfineart.com www.jamesrrossfineart.com

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FOUR DECADES AT THE PARK REFLECTIONS FROM THE NATURALIST

BY JIM EAGLEMAN

rowing up in Berks County, in the southeast Pennsylvania hilly land, my early days were spent on our sheep farm. My dad, the county vet, saw to it I had plenty of adventures there; and in between hunting, fishing and riding horses, I recall there was always lots of work. Hills were part of the everyday summer challenge, to mow, rake and bale hay, then to pasture the land thru fall. A winter view from the hilltops out over a rolling mozaic of neighboring farms, dotted with livestock, fencerows and wooded ravines has always stayed with me. I became a lover of hills!

Three years working at Turkey Run State Park, my first Indiana DNR job, then the move to Brown County, brought back those earlier visions. More woods covered these hills, but the undulating landscape, long descending slopes and rocky outcrops were similar. I was in hill country again.

Mention to any Hoosier camper or hiker a visit to Brown County State Park and you become aware it’s a special place. Indiana’s largest state park at just shy of 16,000 acres and its nearly 25 square miles promote southern Indiana’s rugged beauty at its best.

Its massive size, but primarily its wide angle vistas with views of 10 miles and more to the horizon, have become a park trademark. Widened parking areas and picnic tables encourage longer stays at overlooks; you can’t simply drive by without stopping. Part of any visit to this park is to look out over these forested acres, maybe a surprise bonus to some, and watch.

Watch for anything that’s out there. From Hohen Point, you see the pines, from Hesitation Point, watch for turkey vultures.

A NASA landsat photo, taken from 400 miles in space, shows the Hoosier state’s varied and colored landforms and river patterns. Cities show up as tan smudges, interstate highways as faded threads. I often used this 2' x 3' prop at interpretive programs to highlight a dark green place in Indiana’s southern half, the very green county of Brown. Often referred to as a biologic “sink,” analogous to a drain, this place is where bird and animal numbers are drawn, natural communities flourish and habitats exist unaltered. Its major component is the park, amid private forested,

federal and state lands and camps. It’s worth a longer look. It helped us examine and pinpoint where we are; we felt maybe a bit more privileged. Green is comforting.

Artist, Tim Greatbatch’s exhibit of park scenes is a vibrant and colorful collection of Brown County State Park throughout the year. Painted natural landscapes can have broad appeal; texture and shade can help recall for us a hike, a photo we took or picnic stop. For nature lovers, the tint of a sumac shrub or the intensity of sunlight on a late fall afternoon for example, can also bring to mind what emotion we felt at the time, how we reacted to that place.

But what is it that we feel when a wide open view is in front of us, an unobstructed space of vastness?

Is it freedom? A deep inspiration, inhalation of air, of release? Is it a form of therapy to look out to see great, natural landscapes and feel their power? Can an artist capture that emotion simply in a painting? I feel the accomplished ones can. I know from visiting art galleries, and from my own appreciation of nature, I realize artists must have spent considerable time with close examination, to capture mood, light, time.

Paintings aren’t rushed in their construction. Nor should our time be to enjoy the scene, the view.

These many park vistas today require maintenance by park staff to keep them open, cut them back and widened. They will grow more closed over time if not monitored. In years to come, where it is now a young stand of mixed hardwoods, this forest will eventually become old growth, possibly some day virgin status.

The pine plantations of the Civilian Conservation Corps, planted in the 1930s and still evident from several overlooks, will most assuredly disappear.

Herbal layers and the understory will change, the corresponding bird, insect and animal community will change. Visitors to the park in future years will marvel, like us, that someone with foresight years earlier, saw it important to set this place aside. By law, the park will always be here. We can have that assurance. It will host future generations of visitors we can only now dream of.

Parks are many things to many people. In my 40+ years of work at Brown County State Park, I witnessed

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its use, a few may say abuse, by many factions: car clubs, small high school graduations, history and bird club visits, family reunions, even funerals. Backcountry sites, remote and out of reach to most, weren’t ever mentioned, or included; isolated, they remained very much a part of the park’s mystic. While I saw constant impact in high-use areas, at least these parcels would remain untouched. Some might call this a “mother hen” complex — I wanted the park to be kept safe, all of it. But if state parks are to be enjoyed, hiked, cabins, shelter houses and lodge rooms rented, even remote parts utilized as possible academic study sites by future biologists, all the land can be appreciated.

Set aside, what a gift it is to us, now and for always, to have and enjoy!

What level of appreciation I may have imparted to hikers and audiences the intricate and detailed marvels of nature, the plants and animals, some endangered that live here, I can only assume was adequate. My career as a DNR educator, resource specialist, public relations person and interpreter at Indiana’s largest state park was most likely encouraged with my dad’s gentle nudge, to see the outdoors as a place of awe, adventure and learning. The park then became both a classroom and laboratory for me to use, and teach, and to see how we all can learn many lessons from nature.

I suspect viewers of Tim’s artistry will want to visit Brown County State Park, maybe some for the first time, some maybe their return visit. His paintings of streams, trails, deep woods and vistas motivate us to see for ourselves what the park contains, during any time or season, and I truly hope this is what will happen! %

“Parks are many things to many people.”

CHANGING COURSE

BY LYN LETSINGER-MILLER

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Sneak Preview · November 6th at the Brown County Art Gallery Coming this November STAY TUNED!

Also on

wtiu.org/tcsteele [6]

hen Timothy Greatbatch was 12, he was learning and memorizing concertos and by 17, he was playing piano concertos with the Indianapolis Symphony. A musical prodigy, his talents eventually led him to Pennsylvania where he studied and then taught at the University of Pennsylvania. By age 40, he was a highly recognized composer of contemporary orchestral and chamber music. He also designed his own album covers. That’s because Tim Greatbatch could. As a child, Tim showed strong drawing skills and an artistic path was possible. But for the first half of his career, it was music that he followed.

Until mid-life. That’s when Tim changed everything. He went from musician to artist — and he did it on his own.

Tim spent hours in Philadelphia museums and soon was drawn to the work of the Impressionists and worked to teach himself the skills he needed. Soon he got work painting murals and other decorative projects, catching the eye of several Pennsylvania galleries. It wasn’t long before he was exhibiting and selling.

Like many of the early artists who founded the Brown County Art Colony, Tim made a major midlife career change and moved back to a place of early inspiration.

“My parents would often bring the family to the state park and the village of Nashville as a weekend getaway in the late 50s and early 60s.”

He remembered the wide vistas in the park and after searching art colonies from East to West, he and wife Lisa moved to Brown County in 2000.

“We love its simple charm and zero stress lifestyle.

It offers endless subject matter for my landscapes and access to major markets… the same reasons as many of the early artists chose Brown County.”

Tim has spent years hiking the hills with a camera and sketchpad. He prefers to paint in the studio and primarily working in oils.

Success in Indiana came soon as he was commissioned to do a large 4' x 8 foot painting for the Columbus City Hall. He also began entering the Indiana Heritage Art annual competition, quickly catching the eye of judges and buyers. As a multiple prizewinner, one of his works, “Afternoon at Ogle Lake,” was purchased by IHA for its growing permanent collection. Tim regularly exhibits year-round in the IHA Rapp Gallery where he is a top seller.

Tim’s work can be found in many private and corporate collections, and he has a large following of collectors. His two-year exploration of the Brown County State Park, in many ways, straddles his painting career as a masterwork of his talents.

He becomes the first living artist to be featured in the Brown County Art Gallery’s prestigious Collector’s Showcase. % photo by Paige Langenderfer · courtesy Our Brown County Magazine

GALLERIES REPRESENTING TIMOTHY GREATBATCH Indiana Heritage Arts Rapp Gallery · Located in the Brown County Art Gallery · Nashville, IN James R. Ross Fine Art · Indianapolis, IN · jamesrossfineart.com Hildt Gallery, Drake Hotel Arcade [ 7 ] · Chicago, IL · hildtgalleries.com

BROWN COUNTY STATE PARK Indiana’s Crown Jewel

A two-year exploration by artist Timothy Greatbatch

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his project began in the early summer of 2019. I had revisited some of the letters that the great French impressionist Claude Monet had written to his gallery and peers related to his “series” paintings. Monet, in his middle period, became fascinated with the idea of multiple paintings of a single subject under different effects of light (time of day, season, …) During this period, he produced the famous haystacks (grain stacks) series — as well as those based on poplars, the Rouen Cathedral, London Parliament and various Mediterranean subjects.

Inspired by Monet’s experiments, I began to consider what I might utilize as a subject. I quickly decided that the two most important factors must be a nearby location (to thwart Indiana’s quickly changing weather) and a familiar (visited) landmark. Brown County State Park (just 2 miles from my studio), with its numerous vistas, became the logical choice.

My first thought was to pick 4 or 5 vistas and create 10 or 12 paintings of each (much like Monet’s process).

However, as I began to study the vistas, I realized that each view contributed to the total experience of the Park.

As I began to paint, they became organized as the northern and southern vistas. Some days I would visit them all. However, most of the time, I would select 2 or 3 as subjects. Observation takes time. I quickly learned that studying how the light progressed and mental notes of the view were as important as my sketches and photos.

Most of the paintings do not represent the view from the parking area. I would walk the lawn area or choose an angle that provided an interesting composition – sometimes excluding most or all of the foreground.

The Park contains 18 vistas and most of them do not have names. The two Lookout Towers, Hesitation Point, Hohen Point and Strahl Valley (behind the Nature Center) were taken care of by the DNR. I developed names for the remaining 13 vistas based on their location or a significant aspect of their topography. The map (based on the DNR’s map) shows the location and general direction of each vista. Coupled with my notes, this should give the viewer of the exhibit a tour of the Park’s wonderful diversity throughout the seasons.

I was about four years old the first time I saw the vistas – and I was amazed by the views. Growing up in Indy, there was nothing like it. In order to go sledding, my parents would drive us over to a small hill at Fort Harrison (usually packed with other families doing the same!). As I developed the series, I tried to keep that childlike wonder in mind, with the hope that my enthusiasm can somehow be translated into the works before you.

The preceding paragraphs were my original thoughts and plans for the exhibit — and then came COVID-19. It was decided in May (2020) to postpone the exhibition until late 2021. It was the right decision, but it was still difficult to “shelve” an entire year’s work for another 16 months. I decided, rather quickly, to push forward and expand the exhibit to include many additional aspects of the Park. An additional 40 paintings (bringing the total to 91 works) explore the lakes, creeks, trails and other features that all contribute to the beauty that is Brown County State Park.

— TIMOTHY GREATBATCH [ 8Map ] not drawn to scale.

Working map created by artist. Name of vistas in quotes created by artist for reference.

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The Northern Vistas

TWO HILLS VISTA This vista, about one mile south of the NORTH LOOKOUT, has a decent size parking area. It boasts the largest lawn of any of the vistas and is a good spot for a picnic. I’ve named it TWO HILLS because of the prominent hills at the right (viewed from the center or left side of the lawn). The view is generally to the east.

NORTH LOOKOUT TOWER: A series of stone steps leads to the two- story structure.

The original tower was constructed solely of logs but was rebuilt in the 1980s due to insect damage. The new tower, now stone and logs, is roughly a twin to the WEST TOWER. The view is to the north.

1 “The North Tower” 20 x 20 · o/c This mid-April (2020) view is from the roadside. I’m about 25 paces north of the parking area, looking NE at the tower perched atop the hill. The robin’s egg blue sky provided a perfect backdrop for the tower and spring blossoms. And I particularly liked the various twists and turns of the tree limbs — especially the foreground tree at left.

Some redbud limbs and saplings add the final touch of spring colors to the composition.

2 “Autumn Counterpoint” 22 x 28 · o/c This view is from the upper level of the tower. The crisp autumn morning revealed a small patch of mist still lingering in the hills at right while the sun cast a diagonal shadow across the front tree line. The tops of many small saplings dot the foreground – some in silhouette, some catching the light. I remember being annoyed with them as I sketched and photographed (they seemed to spoil the view at the time). However, as I began to develop the canvas, their leaves provided dabs of color in counterpoint to the light or dark areas behind them.

4 “September Mist” 16 x 24 · o/c On September 2nd (2019) a dense fog blanketed the hills of Brown County. The two hills are the most distant features at this moment – the true horizon being enveloped in the mist. In fact, when I first arrived, you could barely see the first hill (far right). I’m positioned far down the lawn at left. I took numerous photos as the lifting fog changed what you could see, and the mist and light altered the colors and values from moment to moment.

3 “Winter, North Lookout Tower” 20 x 24 · o/c A light morning snowfall and cloudy winter day (1/31/20) set the parameters and subtle colors for this work. I’m again standing in the upper level of the tower but have included the foreground hillside and a bit more of the right tree line. One of the many reasons I enjoy painting winter scenes is that nature reveals the lay of the land (the skeletal structure of the scene). Here, the Park road (heading back to the North Gate) can be seen in the middle left of the view while the thin layer of snow was just enough to suggest the various slopes of the foreground hills. The misty atmosphere and low cloud base all but obscured the distant hills.

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THE PROGRESSION Studio sketch (2:3=16 x 24 canvas) Stage 1: oil wash of general shapes and colors Stage 2: colors intensified Stage 3: final details, mist and sky colors adjusted

5 “End of Summer” 20 x 24 · o/c This painting explores the color of late September (2019). The time is around noon (not usually the best light), but I was struck by the deep shadows of the foreground trees and the violets of the distant hills and clouds. Touches of autumn color are beginning to appear in the foreground grasses and a small tree at left.

6 “Autumn at Two Hills” 20 x 24 · o/c I chose the soft light of a late October (2019) morning for this work.

Though a bit further up the lawn, my viewpoint remains about the same as the September paintings. The light cast wonderful blue shadows on the two hills, while pastel shades of pinks and violets were present in the distant hills.

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GUARDRAIL VISTA

WEDGE VISTA

This vista is about 20 paces from the parking area at TWO HILLS. One can easily miss this view in the car, but the wooden guardrails that run along its entire expanse make it unique. Framed by large trees, its distinguishing feature is the midrange hill that gently slopes from left to right. Its westerly view affords great summer sunsets and backlit views in the late afternoon and evening. It is one of my favorite vistas in the Park.

This vista, just to the east of Hesitation Point, has a large foreground hill at left that slopes downward from left to right. By mid- afternoon or so, the hill (mostly in shadow) creates a wedge- shaped silhouette that dominates the view. Though less prominent now, in 2019 the top of the hill had limbs and foliage that looked like (to most) an elephant with its trunk upturned. The view is to the north with a small parking area.

7 “Summer Evening” 22 x 28 · o/c Standing at the far right, just a small section of the hill is seen while the downward slope of the left side trees is emphasized. The evening sun was just beginning to reveal subtle shades of pinks and oranges. But what really caught my eye was the way the sun created a corridor of light up the hillside – illuminating the sloping angles of the foliage.

11 “Evening Shadows at the Wedge Vista” 24 x 30 · o/c This painting depicts the early evening light in late July (2019). The view is from the extreme right (looking NW) near the tall grasses and wildflowers. A diagonal band of light is seen in the foreground. The cool greens of the wedge hill (in shadow) create a backdrop for the front tree line as it catches sunlight from the left.

8 “August Colors” 16 x 20 · o/l I’ve moved a bit more to the left which opens up the vista and omits the foreground tree at right. The hazy blues and greens of the distant hills are to me the colors of summer in Indiana. This was the first painting I completed for this exhibit.

9 “Sunset at the Guardrail Vista” 30 x 36 · o/c August sunsets were the inspiration for this work. The horizon line is lowered to expand the sky while the sun is partially hidden by foliage. Numerous bands of color extend across the sky – from pinks and golds near the horizon to deep mauves at the top of the canvas.

However, the real work in this painting was the wide range of muted greens within the foliage.

10 “Lunar Alignment” 20 x 30 · o/c On the morning of October 19th (2019) a beautiful moon hung over the hills at GUARDRAIL. The deep blue sky was filled with gossamer clouds – never thick enough to obscure the moon. I structured the work so that about a third of the view is in shadow, the morning sun still not high enough to illuminate most of the foreground. The fall colors were just beginning, with touches of pale orange, ochre and yellow-green dotting the sunlit hills.

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12 “Last Light” 18 x 24 · o/c This work was developed from studying the evening effects in midsummer. The muted blues and violets of the distant hills set against a fading sunset was what caught my eye. I’ve moved to the left (looking north). About two-thirds of the wedge is seen along with the tops of the front tree line. By changing my viewpoint, the tallest front tree is now seen at the right side of the canvas (compare to “Evening Shadows...”). This tree now intersects the lower section of the wedge hill and provides interest to the lower right side of the view.

13 “Autumn at the Wedge” 16 x 20 · o/c This late afternoon view is from early November (2019). Again, only a section of the wedge hill is included, but limbs from a foreground tree emerge from the right side. What struck me was the warm soft glow of the distant hills – primarily in shades of muted orange and blue-violet. The muted orange is also echoed in the clouds, particularly those on the left (westerly) side.

14 “Geometry at the Wedge Vista” 28 x 35 · o/c This work adds much more foreground to the vista and is the only morning view. While the wedge hill, illuminated by sunlight, is less prominent as a structure, new wedges of light and dark emerge in the composition. The large tree at right down to the smaller trees at center and left form a large broken wedge in opposition to the hill.

Within the foreground, wedge-shaped sections of light appear in parts of the trees near the center. Still thinner wedges are present within the lawn and grasses. I’m always amazed when nature produces such a vivid geometry and structure to a view.

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HESITATION POINT

THE NEXT FOUR PAINTINGS FOCUS ON THE VALLEY AT HESITATION POINT.

This is the most visited view in the Park. It has a large parking area, several picnic tables and a mountain bike trail. Its feel is expansive compared to the other vistas. The view is to the NW, and summer sunsets are a prominent visiting time for both locals and visitors. In the afternoons there can be lots of action with the bikers on the trail below. I witnessed several wipe outs while sketching and photographing.

This area produces wonderful patterns of color in the evening. My viewpoint is from the extreme left of the parking area; and I purposely removed foreground elements and most or all of the sky. The first three paintings show the progression of light over a 40-minute time span on October 27th, 2019. The canvases are arranged from left to right so that the viewer can experience the changing light. The fourth painting builds on the ideas of the first three works, with its overall design based purely on the patterns of color.

16 “Blue Shadows” Valley at Hesitation Point” 20 x 30 · o/c This early evening view shows the deep blue shadows at their peak.

The salmon-colored hillside at center right is fully in the sunlight and the foreground greens are neutral in color. The distant hills reveal soft pinks and greens against the rich blue green shadows.

17 “Golden Light” Valley at Hesitation Point” 20 x 30 · o/c This mid evening view shows the light at its warmest. The salmoncolored hill is partially in shadow and its color is a bit warmer. The foreground greens are now infused with orange and yellow while the distant hills reveal soft oranges against a cooler blue (more cobalt than turquoise).

18 “Fading Light” Valley at Hesitation Point” 24 x 36 · o/c The last view shows the light at its softest but still with clear color. I chose a larger canvas to help show the many muted colors that were present. The salmon-colored hill is now almost completely in shadow.

The foreground greens have lost their warmth and shifted to cool mint greens and yellow greens. The distant hills reveal muted yellows and oranges against shadows that are now more violet than blue. Finally, the horizon has become less defined and as sunset approaches, some mist is beginning to form in the valley.

15 “Evening’s Glow” 30 x 40 · o/c This large work depicts the light on July 31st, 2019. The sun, tucked behind the left trees, perfectly illuminated the hills with a warm golden light.

This light evoked strong memories for me as a young boy. The times I spent outdoors, after dinner, with that same golden light as the backdrop remain special and recall simpler times. I chose to include many elements in this work – the snaky shaped bike trail that cuts across the lawn, the backlit trees, grasses and wildflowers in the foreground and the warm yellow clouds on the left (westerly) side of the sky.

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20 “Summer Sunset, Hesitation Point” 24 x 36 · o/c This work was developed from numerous visits in July and August (2019). I’m standing amid the picnic tables with the sun still high enough to catch the tops of the various tree lines. Like the GUARDRAIL sunset, I spent much more time on the colors and textures of the hills than the bands of color in the sky. In many of my visits, I observed two prominent (and opposing) areas of color – the warm colors (RED – OR – YEL) in the left sky and horizon counterbalanced by the cool colors (BL – VLT) in the right sky, horizon and misty valley. I further contrasted these areas by employing short, layered brushstrokes at the left and soft blended strokes at the right. With these two areas set, the various colors in the sky were reflected into the hills to harmonize the painting. If you have not witnessed a summer sunset at this vista, you should add it to your bucket list. While a slightly cloudy evening will usually produce a more dramatic sky, the experience is always a relaxing way to end the day.

ARCHED TREE VISTA This is a small vista with a circular pull off located about 8/10ths of a mile west of Hesitation Point. While hardly a grand view, it is quite picturesque. Just a few distant hills are visible, but a chestnut oak tree (rare in Indiana) gracefully arches its limbs over the left side of the scene. The view is to the south, so the far hillside catches light and shadow from both the morning and evening sun.

21 “Summer, Arched Tree Vista” 18 x 24 · o/c In this mid-August (2019) view, I’ve omitted the foreground, looking across the treetops to the small section of hillside illuminated by the early evening light. Most of the front trees are in shadow, so the brushwork was kept soft and blended.

22 “Autumn, Arched Tree Vista” 18 x 24 · o/c In this late October (2019) work, I’ve kept the same angle as the summer scene. However, the early morning time of day shows the reverse lighting. There was a strong clarity to the light on this day, so the colors seemed particularly rich and pure. When I first arrived, the brightly illuminated sections on the right reminded me of a box of jewels.

19 “Autumn Tapestry” Valley at Hesitation Point” 50 x 42 · o/c The title is derived from its large vertical shape. The composition removes the sky completely and expands the view vertically to include more foreground hills. The omission of a horizon blurs the context of a traditional landscape while the added foreground creates new areas of light and shadow. While staying true to nature, the overall effect is a bit abstract, as the color and patterns have in effect become the skeletal structure of the painting. [ 16 ]

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The Southern Vistas

WEST LOOKOUT TOWER This stone and log structure was built in the 1930s. Like the NORTH TOWER, its view is to the north. It has a large parking area, but the Park road runs between the tower and cut out. The tower’s position and some large foreground trees tend to pinch the view a bit more than the NORTH TOWER. A distinctive feature of the vista is a notch near the center of the horizon.

EASTERN TRIO VISTAS There is a group of three vistas just past the Park Office and Wildflower Meadow. I refer to them as the EASTERN TRIO as they are positioned along the eastern side of the Park, are quite close together and share a SE view and topography.

While each contain distinctive foreground interests, they can be thought of as one grand vista with three observation points. The first and third vistas have small parking areas, while the middle vista is a short walk from the other two.

EASTERN TRIO #1

23 “Summer Evening, West Lookout” 20 x 20 · o/c This evening view is from the upper level of the tower in late July (2019). What caught my eye were the variety of colors present in this summer setting. The sun’s light created a patchwork modulation of color over the distant hills, while additional warms were tossed upon the sloping front tree line and passing clouds.

24 “Sunlit Hills, West Lookout” 14 x 16 · o/c A beautiful February (2020) sunset inspired this work. I narrowed the view, omitting the large side trees, to focus on the illuminated hills. The sun’s low angle (from left) lit up the distant hills with a rich orange glow while the foreground hills and patchy snow remained in shadow.

26 “Hillside Blossoms” 24 x 30 · o/c This afternoon view is from late April, 2020. I’m positioned far down the hill at the right side near a drainage area. From this angle, a small group of redbuds emerge as the primary focus. The sloping distant hillside is the left side tree line, as I look across the vista point.

As the distant hills are less prominent, I emphasized the details within the foreground. The varied textures of the grasses, coupled with their shifts of direction, created an energy that matched the twisting limbs of the redbuds.

27 “Autumn Vista” 24 x 30 · o/c Back in 2019, I had hoped to create a fall painting of this view as it is one of my favorite autumn vistas. Unfortunately, the maples (near the front center) turned very early, dropped their leaves quickly, and the surrounding color never really developed. The extension of this project allowed me to revisit the vista – and 2020 proved to be a good year (we didn’t get to say that very often last year!). This morning view, from late October, is from the left side of the lawn area. The sun, high to left, cast subtle diagonal shadows across the spire-like saplings and tall grasses; while the distant hills provided a variety of pastels, blues and violets.

EASTERN TRIO #2:

25 “Winter Afternoon, West Lookout” 18 x 24 · o/c This view emphasizes the foreground trees and hill at right. The sunlight produced soft ochres and golds on the front tree line, while a diagonal band of shadow cuts across the left side. The melting snow – some in shadow, some in light – created wonderful patterns on the forest floor.

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28 “The Old Pine” 30 x 40 · o/c During the second week of November (2019), central Indiana received an early 2 – 3 inches of snow. There was still a good deal of color in the Park; and when the sun reappeared, I found this mixed season view of the middle EASTERN TRIO. This is the only vista with a prominent evergreen in the foreground. Back in August (2019), I planned out the composition of this painting – hoping for the combination of snow and sun. The pine is missing the upper portion of its main trunk (just above the horizon amid the needles), but that seems to give it a bit of character. Its long sprawling limbs, mostly in shadow, still retain captured snow while newly fallen leaves dot the foreground.

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29 “Shadow Play” 28 x 30 · o/c I made several trips waiting for just the right light and conditions for this work. I’m positioned at the left side of the lawn, which removes the distinctive pine tree from the view. A large oak tree anchors the left side while the morning light catches the tops of the front tree line. The brilliant fall colors of the treetops are set against the deep bluegreen areas of shadow. Within the shaded areas are pastel suggestions of smaller trees, while saplings and the native brome grass in the foreground catch the sunlight. All in all, it was a perfect moment of the beauty that is Brown County.

The early November (2019) snowfall provided the setting for two more mixed season paintings.

32 “Foxtails and Snow” 36 x 42 · o/c What immediately caught my eye was the snow nestled around the giant foxtails. The light created dramatic blue shadows amid the clumps of snow still clinging to the grasses. I positioned myself more to the left side of the lawn, allowing the furry tips of the foxtails to be clearly delineated against the warm (shaded) colors of the right tree line. The distant hills were cast in deep blue-violets against the light gray-green sky. And as you can see, the snow was melting fast.

34 “Hill Colors” 12 x 16 · o/c In this early morning scene from late October (2019), my viewpoint is similar to the large “Foxtails and Snow” painting. The fall colors were nearly at their peak – and the early snow was only about a week away. With the exceptions of the muted sky and horizon, this canvas was executed with a small palette knife.

EASTERN TRIO #3:

The dense fog of September 2nd, 2019 (as in the TWO HILLS painting) provided the setting for two works of this vista.

This was one of my favorite mornings in the Park. I spent about an hour at this vista and a sole DNR vehicle was the only traffic. The solitude and misty atmosphere made me feel I was viewing a primordial forest.

33 “Early Snowfall” 14 x 24 · o/c Earlier in the morning, I focused my attention on the sunlit colors of the left side tree line. Long shadows cut across the foreground snow, while saplings and grasses anchor the lower right of the view.

The warm colors of autumn set against the cool colors of the light snowfall created a wonderful juxtaposition of the two seasons.

30 “Morning Mist #1” 20 x 30 · o/c In this work I chose to emphasize the distant hills – looking across the treetops to the three bands of pastel shades towards the horizon.

The furthest band, with its pinkish violet color, nearly blended with the dense bank of fog in the right sky. Small patches of blue sky can be seen trying to poke through the atmosphere.

35 “Among the Redbuds” 20 x 24 · o/c At present, E.T.3 has many young redbuds that dot the view; however, there is not a mature tree or grouping that provide a clear focal point.

I decided to trek down the hill, past the lawn and front apron of grasses, to the edge of the woods. From this vantage point, several redbuds are nestled amid the tall grasses and larger trees. The early spring greens and the blues of the distant hills provided the contrasting backdrop for the varied colors of the redbud blossoms.

31 “Morning Mist #2” 20 x 30 · o/c A wide view of the vista is employed in this work. As the morning progressed, the sky began to reveal more blues and creams, while the addition of the foreground trees and grasses introduced slightly warmer green and ochres.

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GRAY CABIN VISTA

STRAHL VALLEY VISTA

Just past the Rally Campground, there is a gray painted cabin on the right. The screened porch looks across the road to this vista. It has a lawn area with picnic tables, but no gravel pull-off. Parking can be found on the lawn or around the Camp Store. The gray cabin is now vacant but was last used as an office for the Conservation Officer. With a view to the SE, the vista contains a wonderful balance of interlocking hills.

Located behind the Nature Center, this vista includes an observation deck and amphitheater overlooking Strahl Valley.

A century ago, this area was clear cut and dotted with farms. The steep hills and narrow valleys were difficult to farm and soil erosion became a significant problem. As the Park was developed, CCC projects reforested the area and Strahl Lake was created. The view is to the E/SE.

36 “Autumn Haze, Gray Cabin Vista” 10 x 22 · o/c This late October (2019) view looks over the foreground trees to the interlocking pattern of hills. There was a hazy atmosphere throughout the day and the distant hills were saturated in blues and violets. I couldn’t help but think of the “opalescent or purple haze” that Adolph Shulz and Dale Bessire found so special about Brown County a century ago.

38 “April in the Hills” 22 x 28 · o/c This early morning view (about 4 days after the previous painting) was my favorite spring setting of the vistas. I was immediately struck by the colors – the turquoise blue of the distant hills and the various shades of the budding leaves and redbud blossoms. I’ve moved to the right and still further down the lawn so that the limbs of the redbud occupy about half of the image. A small sliver of lawn cuts across the bottom of the canvas, introducing the fresh green that grass exhibits when it first begins to grow.

39 “Observation Deck, Strahl Valley” 18 x 14 · o/c This late afternoon view is from the end of August (2019). The angle of the sun cast deep shadows on the deck and trees at right. While the vista plays a small role in the composition of this work, the setting always seems to invite visitors to take a peek. In this moment, a young couple takes a selfie while an older gentleman reads about the history of the valley.

41 “Spring Blossoms, Strahl Valley” 22 x 30 · o/c This work was developed from studies in April (2021). I’ve narrowed the view to focus on the blossoms and new leaf buds that filled the foreground and midrange. By standing at the right front side of the observation deck, the redbud limbs and blossoms form a sweeping diagonal across the image. Tiny dabs of paint, executed with a small, very worn filbert brush, created the woven-like patterns of color in the foliage. The energy of the foliage is set against a soft, blended sky with some passing clouds.

37 “Shadows on the Hills” 12 x 24 · o/c This spring (2020) scene was created as a sister work to the autumn painting. The horizontal canvas again focuses on the interlocking hills – although my position is further down the lawn to emphasize the redbud at right. The partly sunny day was filled with fast moving clouds that cast deep shadows over various sections of the landscape. I chose a moment when the shadows created rich darks at the center of the painting.

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40 “Sunrise Over Strahl Valley”

32 x 40 · o/c The focal point of this work is the valley area. I studied and sketched this view many times during the summer of 2019. What struck me most was the feeling of the view – a kind of tranquil elegance. The soft colors of the valley coupled with the morning sun that gently backlit the midrange all contributed to this feeling. As I refined my sketches, I decided to “frame” the view by including edges of the foreground foliage. The honey locust limbs at the upper left seem to point to the distant hills and central sky; while saplings of tulip trees, sycamores and additional honey locust run along the bottom and right side of the image. As you view the painting, the areas of darkest values form a large U-shaped pattern which further directs the eye to the center of the painting. The elements of the sunrise represent several of my visits (particularly in 2020). An eastern cloud base that blocked direct sunlight, some downward beams of light and the soft orange-pinks and violets of the sky were chosen to accentuate the painting’s peaceful valley theme. [ 23 ]

The final four vistas, located at the southern end of the Park, are relatively close together.

Each vista has a view in a different general direction.

SOUTH VISTA #2 This vista has a small pull-off with a lawn area and apron of varied grasses. The view is to the south.

SOUTH VISTA #1

43 “Sumac and Shadows”

16 x 20 · o/c This work is from late October (2019). It was a beautiful autumn day in the Park and the midmorning view catches the fall colors at their peak.

A group of sumac occupy the central front tree line, while the sun (high to left) casts shadows across the lawn and foliage.

This vista has a small pull-off at the right, a lawn with picnic tables and a view to the east. There is also a flagpole at the extreme right near the road.

42 “ The Opalescent Clouds”

20 x 30 · o/c On January 31st (2020), after a stop at the North Lookout, I headed to the southern vistas. A wintry mix of snow, sleet and rain continued throughout the day. It was sleeting when I arrived at the vista – and I was not optimistic about finding something special. But fate and a lot of luck provided the most unique weather event of this project. I often take a photo scan of a view, turning my camera sideways and shooting 3 or 4 adjacent shots of the scene. While I was shooting a 3-scan, two sections of sky opened through the clouds. As I snapped the middle photo, a rare weather phenomenon was captured – opalescent or iridescent clouds. This occurs when small ice crystals individually scatter (diffract) light at the thin edges of a cloud. The effect is somewhat akin to a rainbow. The odds of even witnessing the event, which lasted only a few seconds, were huge. To have my camera focused on the exact spot in the sky, well — I should have played the lottery that day!

The colors were subtle and reminded me of those found in opal gemstones. Iridescent shades of yellow-green, orange, pink and violet mingled with light turquoise sky. The distant hills were veiled in pink-violets and gray-greens; while the front tree line revealed a thin coating of snow on the limbs. A band of golden brome grass cut across the foreground, introducing a warm color to the wintry landscape.

3-scan photo of weather event

Studio sketch

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HOHEN POINT This is the best known vista at the southern end of the Park. It has a large parking area and several picnic tables. The foreground contains many tall grasses and a large group of sumac. The view is to the north and is quite expansive.

44 “Evening in Blues” 12 x 20 · o/c This painting depicts the light of an August sunset – but looking north.

What caught my eye were the dark silhouettes of the front tree line set against the rich blues of the distant hills. I am positioned near the tall grasses at right so that diagonal bands of color are seen in the left foreground. Long horizontal cloud formations in muted blues are set against the faintest orange-pink glow of the evening sky.

45 “Afternoon at Hohen Point” 20 x 28 · o/c This summer scene explores the light and color in the late afternoon on August 25th, 2019. The sun is still high enough to illuminate sections of the front tree line. A large tree (not in the image) casts a shadow over the left side of the grasses. The short strokes of color utilized in the distant hillside are continued in the sky and clouds. This binds the distant features together and strengthens the more contrasting colors and brushwork of the front tree line and grasses.

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LAKES & CREEKS OGLE LAKE Ogle Lake is one of the most visited areas in the Park. It is the larger of the two lakes and contains a generous parking lot, a shelter and picnic area, a 1.5 mile loop trail, and access points to Trail #4 and Trail #8. I’ve created dozens of paintings of the lake and trail over the years. I believe the following works offer some fresh takes on one of my favorite spots in the Park.

46 “Autumn Morning, Hohen Point” 24 x 36 · o/c This vista provided some of the best and earliest fall color in 2019.

The soft morning light of October 28th revealed wonderful pastels in the distant hills – especially varied shades of pink. These muted pinks transition to the large crop of sumac that run along the front tree line.

The tall foreground grasses, partially in shadow, added contrasting texture and brush work, while some dark (shaded) saplings anchor the left foreground.

48 “Sunset, Christmas Day” 16 x 20 · o/c There were considerably fewer clouds on December 25th (2019).

The sunset produced a uniform golden glow over the vista. The tops of the tree lines captured those golden tones; and the blues of the distant hills popped against the colors in the sky.

SOUTHPOINT VISTA The southern- most vista in the Park is located near the switchback that returns north. There is a small pull-off and picnic tables; the view is to the west. This is the best overlook for direct sunsets during the winter months.

50 “Quiet Morning, Ogle Lake” 20 x 30 · o/c This early morning view is from August 17th, 2020. I’m standing at the left side of the dam (the concrete dock area) looking E/SE. The soft morning light coupled with the rising puffs of mist just above the water produced a scene filled with subtle colors and a sense of tranquility.

51 “To a Maple Lost” aka “The Bent Maple,” 30 x 36 · o/c This is the third cove along the north shoreline of Ogle Lake. I had sketched and photographed this view back in the fall of 2018. I titled the sketch “The Bent Maple,” as the limbs (at right) gracefully bow to the left. Sadly, 2018 was its last autumn, its trunk now at rest in the water. In the fall of 2020, I developed the painting as a tribute to this splendid tree that no longer decorates the cove. A smaller maple, partially seen at the left of the canvas, is still thriving. Perhaps in a few years it will become the focal point of this view.

49 “Southpoint by Moonlight” 16 x 20 · o/c Over the years, I have painted several “winter nocturnes”. The combination of a full moon and snow create a special reflected light to the landscape. Here, the foreground snow, tall grasses and various limbs and tree lines catch the light of the setting moon in January (2021).

47 “Sunset, Christmas Eve” 16 x 20 · o/c A cloudy evening sky on December 24th (2019) provided some wonderful colors over SOUTHPOINT. Scarlets, pinks and red violets were reflected in the sky in about any direction one looked. My viewpoint is from the left side of the lawn, which provides a good angle to view winter sunsets.

Studio sketch for “To a Maple Lost”

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Just past the three coves, or about halfway along the north shoreline, the trail is dotted with sumac.

The following two works focus on this area – but viewed from opposite directions.

53 “Sumac Along Ogle Lake #2” 16 x 24 · o/c In this view looking west, the sumac are the dominant foreground interest while the sunlit fall colors along the point (the backside of the third cove) form the midrange of the composition. A small section of the dam and southern tree line are visible at the distant left.

52 “Sumac Along Ogle Lake #1” 18 x 18 · o/c This view looks SE toward the back end of the lake. From this angle, the southern tree line and shore are mostly in shadow – providing a contrasting backdrop for the vibrant sumac.

55 “Strahl Lake” 28 x 35 · o/c This is my favorite angle to view Strahl Lake. The opposite shoreline contains a nice mix of hardwoods and pines, and the deep shadows of the cove provide a strong contrast at the left of the image. Also visible is the trail that hugs the water’s edge and the suggestion of a few hikers enjoying the sunlit fall day. The elevated eastern shoreline has several exposed banks, and they are especially prominent in the late summer and fall when there is a lack of rain. I chose a time when the sunbaked bank at the lower right was filled with light and shadow.

57 “Winter, Strahl Lake” 20 x 24 · o/c This late January (2021) setting is near the back end of the eastern shoreline and places a stand of pines at the distant center of the canvas. The sunny day produced deep shadows and the lake’s frozen surface glistened in the afternoon light. At this point there is a platform with bench and steps that lead down to the shoreline. The wooden posts and rails provided a strong diagonal between the snowy foreground and muted colors of the opposite shoreline.

STRAHL LAKE This small (7 acre) lake is in the southeast section of the Park. The 1.25 mile loop trail is an enjoyable hike. The area contains a parking lot, restrooms, large spillway (waterfall), lawn area with picnic tables and a shelter.

54 “Along the Strahl Lake Trail” 22 x 28 · o/c About halfway along the eastern shoreline is a set of steps framed by large trees. While this angle reveals little of the lake itself, it contains wonderful shadows in the morning and early afternoon. This mid- October (2020) view shows the fall colors near their peak. Just to the left of the steps is a small clearing that looks west across the lake.

This view is the subject of the next painting.

56 “Autumn Golds and Split Rails” 24 x 27 · o/c This view is again along the eastern shoreline. After ascending the steps (“Along the Strahl Lake Trail”), there is a long run of fencing between the trail and lake. I’m looking SE (towards the dam) and used the trail and fence to direct the eye to the left center of the canvas. This section, mostly in shadow, acts as a counterbalance to the bright right side of the composition. Here, the autumn foliage and foreground fence reveal a variety of golden colors.

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58 “Reflections, Strahl Lake Cove” 30 x 45 · o/c There is a fairly large cove along the western shoreline. The trail, no longer elevated, loops around the edge of the cove and the late morning light produces reflections as you look north. The opposite bank provides a horizontal reference and a small section of the distant shoreline can be seen at the upper right. But what caught my eye were the wonderful reflections on the water. Part of the observation process (October 16th – 22nd, 2020) was the different effects of the water’s surface when there was complete calm or a gentle breeze. I chose the latter, which produced slightly broken reflections on the surface – particularly on the open end (right side) of the cove.

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STRAHL CREEK The Strahl Lake spillway forms the beginning of Strahl Creek. It runs along the parking area then makes a few twists and turns to the Park Road. The creek heads SE along the road until it combines with Skinner Creek at the Horseman’s Campground.

59 “Spring at Strahl Creek” 30 x 36 · o/c This backlit view from mid- April (2020), looks downstream with the spillway behind my left shoulder. The angle was chosen not only to place the redbuds in the foreground, but to glimpse the parking area, footbridge and shelter. Part of the fence along the right bank had collapsed during the winter. When I returned about a week later, repairs were underway. I decided to keep the fence unrepaired, as it seemed to add a bit of rustic charm to the image.

The next two paintings focus on an area of the creek not often seen. To view this little gem, cross the footbridge, turn left and follow the creek about 80 paces (you will be near the Park Road). Listen for the micro waterfall as it spills over the small ledge.

62 “Winter, Strahl Creek” 15 x 36 · o/c I selected an extended horizontal canvas to show a large section of the creek and the relationship of the footbridge (at the upper left) to the micro waterfall. While the day (January 28th, 2021) was sunny, the afternoon angle of the sun kept most of the view in shadow. Nevertheless, warm colors were revealed in the movement and reflections of the water.

61 “Strahl Creek Geology” 28 x 30 · o/c In this early June (2020) setting, I am standing along the left bank (about midway down the parking area), looking downstream. The foreshortened left bank and stony creek bed immediately caught my eye. The light created a strong shadow from the bank and wonderful colors on the sandstone and gravel geology within the creek.

60 “The Footbridge” 27 x 36 · o/c This morning view from the end of May (2020) focuses on the concrete and wood footbridge over Strahl Creek. Again backlit, the now dense foliage revealed dark and light greens coupled with soft violets. With some heavy spring downpours, the swiftly moving current hid many of the stones seen in the April painting.

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63 “Morning Snow, Strahl Creek” 20 x 24 · o/c A light snowfall occurred in the early hours of January 16th, 2021.

The wet snow clung to every branch and twig and there was just enough movement in the water to keep the creek from freezing. In contrast to the previous painting, thick clouds obscured direct sunlight and the snow was cast in subtle shades of violet and blue- green.

64 “Winter, Strahl Lake Shelter” 20 x 20 · o/c On January 16th (2021), as I headed back to the parking lot from the micro waterfall, I encountered this view. The shelter and picnic tables were all more or less on a single horizontal plane in front of the lake’s dam. The overcast sky was a violet-gray, while the clinging snow blanketed the scene in soft blue-greens. The overall sense of the view struck me as both stark and enchanting.

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65 “Spring Shadows, Strahl Creek” 22 x 28 · o/c This view is from April 14th, 2021. This wide ledge is further downstream – near the point where the creek begins to bend to the SE and follow the road. The upstream view (from the north bank) shows the curved sandstone ledge and vicinity in dappled sunlight. Some spring downpours provided lots of energy to the micro waterfall, while emerging V-shaped leaf buds filled the upper portion of the view.

UPPER SCHOONER CREEK (Trail #8) Trail #8, at 3.5 miles, connects the West Lookout Tower, Hesitation Point and the parking lot at Ogle Lake. The next five paintings focus on the Upper Schooner Creek segment of this trail. The quickest way to reach this segment is to park at Hesitation Point and look for the trail marker on the south side of the road. After a quarter mile hike, descend the 153step staircase to the creek and valley. At this point there are five bridges that switch from side to side across the creek.

HOBBS CREEK Just to the right of the parking area at Hesitation Point, there is a wide unmarked access trail that heads down the ridge.

The area at the bottom is Hobbs Hollow and contains a small creek. At this point it intersects with a mountain bike trail (D5 post is nearby). Hobbs Creek contains many S curves as it meanders through the lowlands. Ferns and wildflowers dot the edge of the creek; and there are several small stone ledges producing micro waterfalls.

68 “Light Snowfall, Upper Schooner Creek” 24 x 24 · o/c This view (to the west) is from the third bridge on January 21st, 2021.

The valley was filled with a patchy snow that created strong contrasts of light and dark. Some lingering fall foliage, gently backlit, added warm colors to the wintry setting. And while the water level of the creek was quite low, it nevertheless produced translucent colors as it slowly moved through the valley.

69 “Deep Snow, Upper Schooner Creek” 30 x 30 · o/c In mid-February (2021), Brown County recorded an eight-inch snowfall — the most in over a decade. When the temperature returned to a balmy 25 degrees, I hiked down to the creek and found this wonderful scene shortly after crossing the first bridge. The exposed sliver of the creek created a strong diagonal from the lower right to near the center of the canvas. Shadows filled the view and the deep snow drifts formed soft rounded shapes throughout the landscape.

70 “Arched Bridge, Upper Schooner Creek” 12 x 16 · o/c The second bridge along the trail is the only arched construction.

This small winter scene is also from February (2021) with most of the creek covered in deep snow. After crossing the bridge, my view is now to the NE. I chose this angle because of the warm (orange) foliage near the center of the image and to place the small section of exposed creek in the foreground.

66 “Hobbs Creek Zen” 20 x 20 · o/c At the bottom of the access trail, turn left and go about 20 paces to this small ledge and waterfall. The tranquil setting was beautifully lit by dappled sunlight. Ferns, overhanging growth and small twigs all contributed to the composition – and each seemed to be perfectly placed as if in a Zen garden. The gentle trickle of the water and some distant songbirds completed the intimate setting.

67 “Creek Bed Rhythms” 20 x 20 · o/c Heading the opposite direction (downstream), the creek makes some strong S curves. I found a brightly lit area where the shallow but rapidly shifting water current passed above and between various shapes of native stone. I chose a small section (almost to scale) to focus the composition on the movement or rhythm of the water. I purposely omitted the context of a bank or plant life. In this manner, the sense of design (abstraction) is similar to “Autumn Tapestry”.

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71 “Footbridge Over Upper Schooner Creek” 12 x 16 · o/c The fifth bridge along the trail contains a small extension (slightly lower) partially seen at the right of the canvas. After crossing this bridge, the trail heads either south to Ogle Lake or north to the West Lookout. The gently backlit view is from the light snowfall of January 21st, 2021. What caught my eye were the strong vertical and horizontal lines within the view. The shallow water contained a partial reflection that echoed the crisscross patterns of the bridge and trees. Some lingering fall foliage brought color to the soft blue grays of the distant woods.

OTHER FEATURES SADDLE BARN ROAD Shortly after the North Gatehouse, there is a road to the left (see Exhibition Map}. For the purpose of this exhibit, I refer to it as the Saddle Barn Road. This branch road includes the Lower Shelter, Saddle Barn, Trail #3 (the Saddle Barn loop trail) and a vista not indicated on the DNR map.

LOWER SHELTER This CCC stone shelter, built in the 1930’s, is my favorite shelter in the Park. The two-level structure includes fireplaces, numerous stepways and porches, a large group of picnic tables and lots of charm. A large, paved parking lot runs between the shelter and saddle barn.

73 “Autumn Morning, Lower Shelter” 20 x 20 · o/c This work, from October 8th (2020), focuses on the right section of the shelter. The morning sun filled the foreground with long shadows.

The day moon was visible above the distant tree line while the golds and greens of early fall surrounded the structure.

74 “The Saddle Barn in Winter” 22 x 28 · o/c Several snowy days in January (2021) provided the opportunity to develop this work. From spring through fall, this area is filled with activity as guests explore the Park on guided horseback rides. This “off-season” winter scene was chosen to emphasize the setting in a quieter moment. The native stone and wood plank structure is classic Brown County architecture; and the unnamed creek, with its shadow-filled banks and stone culvert, adds significant interest to the foreground.

72 “Snow Sculptures” 24 x 36 · o/c This work is again from the February deep snowfall. As I began to backtrack towards the trail staircase, I spotted this section of the creek just east of the third bridge. To obtain the angle I desired, I had to leave the trail and carefully “wade” through drifts well above my knees – but what a view. The creek contained wonderful rounded “sculptures” amid the deep colors of the water; and the banks echoed those rounded shapes as the light hit various highpoints on the drifts. An exposed root from a large tree (not in image) runs along the bottom center and right of the canvas, while a fallen tree and limbs emerge from various locations along the banks. It seemed to me that nature had created a sculptural masterpiece of snow, wind, water and sunlight.

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75 “Autumn Ride” 20 x 24 · o/c A group of riders emerge from the underpass as they return to the Saddle Barn in mid-October (2020). After settling on the general composition, I made an additional trip to “set the light”. The sun’s angle creates diagonal shadows on the stonework, banks and trail that direct the eye back to the riders.

SADDLE BARN ROAD VISTA Located at the southern end of the Saddle Barn Road, this vista contains gravel pull offs and a view to the north. The wide view contains a steep downward hillside at the front.

78 “Spring Clouds and Two Hawks” 16 x 24 · o/c This painting focuses on the right side of the vista. The morning sky on May 22nd (2020) was filled with big pillowy clouds (I don’t know if they were “happy”). I liked the way their shapes echoed some of the foreground trees, creating a kind of energy to the overall composition. The distant hills contained areas of ochres and violets amid the spring greens. As I sketched, two hawks entered the sky at right. They glided about in a circular motion for about ten minutes, so they become part of this spring vista.

TRAIL #3 (Saddle Barn Loop) At 1.25 miles in length, this hike begins behind the Abe Martin Lodge (or you can park at the saddle barn to begin the loop). It is an enjoyable hike, combining hills and ravines with the “destination points” of the Lodge and Saddle Barn.

FRIENDS TRAIL This trail, located just to the left of the Park Office, is a recent addition. With the support of several local organizations, it was constructed by The Friends of BCSP and dedicated on June 3rd, 2000. The short, paved trail includes several benches, a boardwalk, the original West Gatehouse and a vista.

76 “Spring, Trail #3” 24 x 24 · o/c This work, set in the colors of early May (2020), was one of my favorite spring scenes. The view is near the end of the hike – before the trail ascends back to the Lodge. The fresh greens of the foliage set against the soft pinks and violets caught my eye. The unnamed creek, usually dry, contained a shallow water level along the stony creek bed.

77 “Horse Trail, Autumn” 20 x 20 · o/c I found this backside view of the saddle barn area just off Trail #3 (very near the location of “Spring, Trail #3”). The mid-October (2020) setting includes some outbuildings, the back pasture area and the fenced trail that begins the guided horseback rides. The golden sunlit colors of the distant trees and ridge are contrasted with a foreground of muted colors in shadow. The scene provided a perfect opportunity to employ a restrained fall palette.

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79 “Friends Trail” 16 x 20 · o/c In the spring, visitors are greeted with a vivid display of redbuds and dogwoods at the trail’s entrance. This mid-April (2021) work catches the blossoms at their peak.

80 “Friends Trail Vista” 18 x 24 · o/l This vista has a small observation deck with seating and a view to the NE. The mid-October (2020) setting produced a morning sky filled with pinks near the horizon. I included the strong verticals of the trees at left as a counterbalance to the horizontals of the deck rails.

The easy, short hike to this vista makes it a popular choice for young families. Several visits provided opportunities to study and develop the figures interacting with the vista.

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TRAIL #10

WILDFLOWER MEADOW

Located behind the Fire Tower (Park Office area), this is one of my favorite trails. In general, it is a bit wider than most – but it does contain some steep ascents/descents. At 2.2 miles, it is one of the longer trails.

This plateau is the highest point in southern Indiana. Located between the Park Office and Eastern Trio Vistas, the hilltop or knob has been treeless for centuries. Native Americans kept the area open via fires or lightning strikes. Early settlers (before Statehood) farmed the land and named it Weed Patch Hill. The meadow was restored to its original ecosystem in 2015.

81 “Spring Twist” 24 x 36 · o/c On April 19th (2021), as I approached the trailhead (fence at right), I was greeted by this vivid display of spring colors. The twisting limbs and trunks immediately caught my eye. The angle of the sun created contrasting shifts of color in the redbud blossoms, while long lines of shadow cut across the foreground grass and path.

84 “Wildflower Meadow, Early Morning” 18 x 24 · o/c This SE view is from mid-August (2020). Though not visible, the Park Road runs between the tree line and meadow. I was immediately struck by the diagonal ray of sunlight that cuts across the left side of the tree line and the shadows on the meadow. Within the varied greens of the field, wildflower blooms provided dabs of pastel colors.

83 “Down the Ridge” 24 x 20 · o/c In this mid-October (2020) view, I was struck by the jagged shadows that cut across this heavily rutted section of the trail and the sunlit fall colors on the left. The trail continues to descend as it bends to the right along the ridge – its descent reinforced by the sloping distant tree line.

82 “CCC Shelter, Trail #10” 16 x 20 · o/c If you begin the trail to the right (counterclockwise), it is about a ¾ mile hike (relatively flat) to the small stone shelter. This late fall (2020) scene shows the dappled sunlight and golden fall colors as you approach the structure.

WILDFLOWERS PROGRESSION

85 “Wildflowers” 30 x 24 · o/c This painting focuses on a small section of the border along the east side of the meadow (the Park Road is behind me). It took several layers of paint to create the textures and “jungle” of foliage of the composition. I used the tall Joe-Pye weeds as the dominant vertical shapes and kept the distant tree line a soft backdrop of greens and violets. The Joe-Pye flower heads exhibit a dramatic shift of color when viewed in sunlight (coral) or shadow (lilac). Additional wildflowers provided contrasting colors and textures. From left to right are the daisy-like False Sunflowers, the white blooms of Mountain Mint and the yellow spikes of Wild Senna.

While both of these studio sketches work as paintings, I chose the second sketch for two reasons.

The vertical composition focuses on a smaller section of the meadow and allows the tall Joe-Pye weeds to reinforce the vertical canvas.

The shorter wildflowers are presented in a clearer context with regard to their size and position within the meadow.

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TRAIL #5, OGLE HOLLOW NATURE PRESERVE The trailhead for the 41- acre preserve is accessed from the Rally Campground parking lot. The narrow ¾ mile interpretative trail quickly descends 240 feet (and the hike back up is one of the more strenuous in the Park). It is one of the few areas in Indiana that escaped pioneer expansion and in 1970, received State Nature Preserve status.

86 “Wildflower Meadow, Autumn” 16 x 20 · o/c Autumn brings a new range of colors to the meadow. Standing on the northern border (looking SW), the view contains the seed heads and copper-gold leaves of the Wild Senna (left side), plumes of Golden Rod and the dried flower heads of the Joe-Pye weeds.

88 “Mist on the Meadow” 12 x 18 · o/c Several misty mornings in August (2020) inspired this work. The eastern tree line, primarily in shadow, formed a silhouette in soft violets against the early morning sky. I specifically wanted to capture the brief time when the rising mist obscures the horizon – creating a diffuse horizontal band across the center of the canvas.

91 “Along the Trail’s Edge” 14 x 16 · o/c Ogle Hollow contains a wide range of wildflowers. A moss- covered rock, partially in sunlight, provided the background for spring wildflowers in mid-April (2021). The foreground includes the yellow blooms of the Wood Poppy and a Jack-in-the-pulpit (seen from the backside). Next to the rock, several young ferns emerge from the dried leaves.

87 “Summer, Wildflower Meadow” 11 x 14 · o/l This small canvas is from early August (2020). Sections of the eastern tree line (running along the Park Road) and tall Joe-Pye weeds catch the morning light, while violet tones fill the areas of shadow. Most of the work was executed with a small palette knife.

89 “Evergreens and Snow” 24 x 30 · o/c This ridgetop setting is located just south of the Eastern Trio Vistas. It struck me as a wonderful contrast to the foothills and fall color we associate the Park. I am standing about 30 paces down the road that leads to Strahl Lake (a plowed area can be seen at the lower left), with the main Park Road running along the low horizon. The blue sky was filled with wispy (evaporation) clouds as the sunlight hit the deep February (2021) snowpack. The foreground shadows are from evergreens located behind me – creating patterns in the snow that echo the shapes of the trees in the image.

90 “Ogle Hollow Trail” 24 x 18 · o/c This view is about half- way along the descent. This section contains several beech trees that create strong verticals in the composition; and is one of the few areas where a larger section of sky is visible.

The late September (2020) setting provided a touch of fall colors amid the rich greens of summer.

The Timothy Greatbatch paintings in this exhibition are available for purchase at the Brown County Art Gallery or online at bcartGalleryonline.org

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The Long View

!

N E P O W NO Located in the Hotel & Event Center across from the entrance of the Brown County Music Center

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Hotel & Event Center

The Long View

800-365-7327 www.seasonslodge.com Located at the entrance of the NEW Brown County Music Center

W

HEN THE EARLY ARTISTS VENTURED TO BROWN COUNTY AFTER THE TURN OF THE LAST CENTURY, THEY FOUND A VERY DIFFERENT LANDSCAPE THAN WHAT WE SEE TODAY. The hills and valleys had been heavily timbered. One could stand on a hilltop and see for miles. Those dramatic views set Brown County apart from other nearby painting grounds and it was a draw to artists from across the country.

Painting those wide views was a challenge but one many successfully achieved. We have gathered a collection of those “long views” as the early artists painted them a century ago.

Balcony Rooms, Conference and Wedding facilities for up to 400 people.

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DALE BESSIRE (AMERICAN 1892-1974) Autumn Landscape · oil · 30 x 36 · signed lower left · The Bessire Family [ 42 ]

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The Long View

DALE BESSIRE (AMERICAN 1892-1974) October Hills, 1929 oil · 20 x 24 · signed and dated lower left Ewe Morse

The Long View

L. O. GRIFFITH · (AMERICAN 1875-1956) Autumn Landscape oil · 10 x 13 · signed lower right John Hansberry and Karry Book

GEORGES LaCHANCE (AMERICAN 1888-1964) Brown County Harvest oil ·11 x 14 · signed lower right John Hansberry and Karry Book

L. O. GRIFFITH (AMERICAN 1875-1956) Cheerful Hill oil · 30 x 24 · signed lower left Bob and Barbara Stevens

DALE BESSIRE · (AMERICAN 1892-1974) Opalescent Light, ca. 1941 oil · 24 x 30 · signed lower left Ewe Morse

ALEXIS FOURNIER · (AMERICAN 1865-1948) Late Afternoon (October) oil · 24 x 26 · signed lower left Ewe Morse

“…the humble who walk the fields with souls alive to the wonder and beauties of nature.”

— ADA WALTER SHULZ referring to the landscape artists who painted Brown County

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DALE BESSIRE · (AMERICAN 1892-1974) Autumn in the Valley oil · 9 x 12 · signed lower left John Hansberry and Karry Book

FRANK HOHENBERGER · (AMERICAN 1876-1963) Road to the Village gelatin silver print photograph · 81/2 x 65⁄8 · signed lower right Private Collection

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The Long View

HALLIE PROW (AMERICAN 1868-1945) After T. C. Steele, 1929 oil · 16 x 120 · signed and dated lower right John Hansberry and Karry Book

PAUL SARGENT (AMERICAN 1880-1946) Brown County Overlook oil · 10 x 16 · signed lower left Bill Cowan

ADOLPH SHULZ (AMERICAN 1863-1961) Moon Over Nashville oil · 12 x 16 · signed lower right John Hansberry and Karry Book

ADOLPH SHULZ (AMERICAN 1863-1961) After the Frost, 1921 oil · 12 x 16 · signed and dated lower right John Hansberry and Karry Book

The Long View

T. C. STEELE (AMERICAN 1847-1926) The Hour Before Sunset, 1915 oil · 30 x 40 · signed and dated lower right Quirey Family Collection

WOOD WOOLSEY (AMERICAN 1899-1970) Fringe of Town, ca. 1936 oil · 30 x 34 · signed lower left Ewe Morse

WALTER SHULZ (AMERICAN 1895-1918) Autumn Landscape, 1914 oil · 20 x 27 inches · signed and dated lower left John Hansberry and Karry Book

V. J. CARIANI (AMERICAN 1891-1969) The Road to the Valley oil · 25 x 30 · signed lower right Ralph Redmond

“You could see the complete horizon in an atmosphere of fantastic blue and pulsing clouds.”

— SELMA STEELE upon reaching the vista of her new Brown County home

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VISIT THE 7 VISTAS

The Long View

BROWN COUNTY STATE PARK

T. C. STEELE (AMERICAN 1847-1926) The Hill Country, 1913 oil · 30 x 45 · signed and dated lower right Ewe Morse EXHIBITED: Chicago, Illinois, The Art Institute of Chicago, American Oil Paintings and Sculpture: The Twenty-Seventh Annual Exhibition, November 3–December 6, 1914 (299); San Francisco, California, The Panama-Pacific International Exposition, February 20–December 4, 1915; Chicago, Illinois, Picture Galleries of Marshall Field & Company, Hoosier Salon, March 8-20, 1926 (269), prizewinner: Edward Rector Memorial (unconfirmed); Indianapolis, Indiana, The John Herron Art Institute, Memorial Exhibition, Theodore C. Steele, December, 1926.

O C T O B E R 2 - N OV E M B E R 1 4 , 2 0 2 1 Visit the 7 Vistas at Brown County State Park, collect a special gift from the Brown County Visitors Center, and enter to win an exclusive print by artist Tim Greatbatch.

Learn more at 7vistachallenge.com

the Historic

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art gallery

www.browncounty.com [ 49 ]

in memory of

John ‘Abe’ Eyed Heating · Cooling · Plumbing Food Equipment Service

Gallery Patron and Volunteer

44th Annual

•

EXHIBITION and SALE

Author of “Canvassing Art”

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$14.95 All proceeds benefit the Brown County Art Gallery Foundation

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A JURIED FINE ART EXHIBITION OF INDIANA ARTISTS

J U N E 1 1 – J U LY 9 , 2 0 2 2 BROWN COUNTY ART GALLERY

Commercial · Residential

Corner of Main & Artist Drive, Nashville, Indiana · (812) 988-4609 · Indianaheritgearts.org E d

IBRP full color ad:Layout 1

9/4/09

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“YELLOW SKY” CAROL STROCK WASSON · 2021 IHA GOLD AWARD IMPRESSIONS.

THE INDIANAPOLIS PROPYLAEUM PRESENTS

Brown County Art Gallery

Artists association

SALON 2021

FROM DARKNESS INTO THE LIGHT THE HIDDEN INFLUENCE OF NADIA BOULANGER

NOVEMBER 13TH 7:00PM

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X An online evening of music, enrichment, and entertainment exploring the life of French music teacher, composer, and musician Nadia Boulanger, led by Dr. Clare Longendyke. Proceeds benefit the mission of the Indianapolis Propylaeum.

Tickets available at thepropylaeum.org/programs

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Still painting after all these years…

IMAGE BUILDERS/ROWLAND PRINTING

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Color Works art Gallery and

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TUES–FRI 9:30–5:30 · SAT 10–NOON OR BY APPOINTMENT [ 53 ]

nashville Spice c o.

A Historic Brown County Landmark

Enjoy dining in a cozy country atmosphere with great home cooking and our famous fried biscuits and apple butter.

Seasonal Food · Intoxicating Beverages · Patio Dining 15 South Van Buren Street 812.988.4554 · nashvillehousebc.com F Sunday-Thursday · 11-8 · Friday & Saturday · 11-10

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NashvilleSpiceCompany.com 227 S. Van Buren Street · Nashville, IN · In Coachlight Square 812.200.1069

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Brown County Art Gallery Foundation presents the

Victorian 26th Annual

Tea

fundraiser to benefit the Gallery Foundation

Sunday, April 10, 2022 · 12:30-4 pm

Featuring the program “The Exotic World of Spices” by Nashville Spice Company Catering by Kevin Ault · Hotel Nashville Catering

BrownCountyArtGallery.org · ..

PREMIER MUSIC AND ARTS VENUE Sun Oct 3 Tues Oct 5 Sat Oct 9 Wed Oct 13 Fri Oct 15 Sat Oct 16 Sun Oct 17 Fri Oct 22 Tues Nov 2 Fri Nov 5 Sat Nov 6 Tues Nov 9 Thur Nov 11

Chris Thile Melissa Etheridge Clay Walker Christopher Cross Free Falling Broadway Fright Night Broadway Fright Night Brian Wilson Kevin Costner & Modern West Craig Morgan Three Dog Night Jason Bonham’s Led Zeppelin Experience John Hiatt & The Jerry Douglas Band

Sat Nov 13 Tues Nov 30 Sat Dec 4 Sun Dec 5 Wed Dec 8 Thur Dec 9 Tues Dec 14 Wed Dec 22

Old Crow Medicine Show Carrot Top Warrant Kenny G Mystery Science Theater 3000 .38 Special LeAnn Rimes Big Bad Voodoo Daddy

— 2022 Shows — Mon April 25 Willie Nelson Fri May 20 Gordon Lightfoot

To stay up to-date, please keep checking: www.browncountymusiccenter.com

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Online Fine Art and Specialty Auctions, and Premium Online Estate Sales

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Members of CAI, IAA, NAA

Online auction services reaching a global audience for fine art and other special collections.

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Harry Davis (IN, 1914-2006) 25 x 30, oil on canvas · “Country Auction” [ 56 ]

A NO

AME

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LLE

N AR

CTIO

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T <F

a special Thank You

IN MEMORY OF

MAPHAJEAN WHITE 1931 - 2021

to LEO MILLER

Brown County Art Gallery

For all this, he gets no compensation except for our deep gratitude. It’s not even close to enough.

Thank you Leo Miller.

PRESENTED BY BARNES & THORNBURG, LLP

© 2021 Brown County Art Guild, Inc.

From the rolling hills of Kentucky to the deserts of Arizona and Portuguese coasts, White loved exploring exotic places and fresh scenery. She received awards from the Hoosier Salon of Indiana, Indiana Heritage Arts and won Best of Show In the Indiana Artists Club for her still lifes and landscapes.

She was a longtime resident of Brown County, where her work was often on display at the Brown County Art Gallery and Brown County Art Guild.

The Brown County Art Gallery Foundation would like to recognize a very special volunteer who quietly lends his skills and expertise to the Gallery on a regular basis. From shooting and editing the beautiful videos that play on our screens, to putting together the music we enjoy, for cleaning out the gutters, setting the thermostats, being here to oversee repairs, to mopping up after a toilet overflow.

BROWN COUNTY’S ORIGINAL ART GALLERY · ESTABLISHED 1926

Permanent Collections Traveling Exhibitions Galleries · Workshops WORKS AVAILABLE FOR PURCHASE FROM

ARTISTS ASSOCIATION · INDIANA HERITAGE ARTS CONSIGNMENT ART · GIFT SHOP Corner of Main Street & Artist Drive · Nashville, IN · 812.988.4609 Free Admission · Free Parking BrownCountyArtGallery.org Fd shop online: bcartgalleryonline.org [ 58 ]

November 12-14 & 19-21, 2021.

Introducing 2020: COVID the Musical. It’s the tale of one of the most unbelievable years in human history. 21 songs will take you on a rollercoaster ride of emotion, while revealing a heartfelt message of peace, love, and hope.

The Guild. Fine Art by Fine Artists.

Produced by Brown County Playhouse Management, Inc. and Ashton Wolf.

Production directed by Ashton Wolf. Music & lyrics and book by Ashton Wolf.

GALLERY AND MUSEUM 48 S. Van Buren Street Nashville, IN 47448

812.988.6555

812 988-6185 BrownCountyArtGuild.org

BrownCountyPlayhouse.org

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Brown County Winery · award winning quality wines since 1986 ·

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BROWNCOUNTYWINERY.COM OPEN DAILY | Monday-Thursday 10 am – 5 pm · Friday & Saturday 10 am – 5:30 pm Sunday 11 am – 5 pm

Brown County Art Gallery One Artist Drive · Nashville, Indiana 47448 · 812.988.4609 BrownCountyArtGallery.org · shop online BCArtGalleryOnline.org