Morgan Weislting, Western Art Collector, John Geraghty Column, January 2013

As seen in the January 2013 issue of

WESTERN ART INSIGHTS

The

Country Doctor Morgan Weistling shares the artistic process behind his new masterwork for the 2013 Masters’ show.

By John Geraghty

I

have known Morgan Weistling since early in his fine art career.

As with many of the contemporary masters, Morgan was recognized as one of the premier illustrators in the country, producing promotional materials for the movie industry and for commercial advertising agencies. Although he had become an independent agent and accepted only the contracts that interested him, he was bored with the systematic mechanics and deadlines of illustration and made the decision to challenge himself in the world of fine art, which had been his lifelong ambition.

When we first met, Morgan was establishing his fine art career through religious paintings that were being produced through Mill Pond Press, one of the leading art reproduction companies in the country that represented many of the established contemporary artists. At the same time he had been newly represented by Trailside Galleries. His first gallery pieces reflected his love of storytelling and the pioneering spirit of America.

He maintained his focus on early Americana because his interest had developed over the years through books, movies and stories his grandparents had told him about their experiences and observations of life before refrigerators, television, computers and the Internet (i.e., the days when families set around the dinner table together, went to church on Sunday mornings, you knew your neighbors by their first name and your word was your bond).

The late 1800s is a perfect time and place for Morgan Weistling— though he is not ignorant of the technical advancements we live with. For example, he has developed and maintained his own website for several years; however, he remains a quiet, unassuming person, committed to the morality of days gone by, and finds solace in spending time with family and close friends.

Although I am convinced Morgan could successfully paint any subject matter, his choice of early Americana has proven to be an excellent decision—he has mastered the genre and no one does it better.

Morgan has a great sense of humor and the ability to taunt you with comments totally out of context during any

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The Country Doctor, oil, 36 x 48", by Morgan Weistling, will be available at the 2013 Masters of the American West exhibition in February.

The artist says: “As you look at the final painting you will see many things added and taken away from the initial lay in. I am notorious for this in show catalogs.

Often I will have to submit an image of a painting to meet an advertising deadline before I am really finished and when it is placed on the wall you can identify all the things I have eventually changed. My story here is about a young boy and the family doctor and the boy’s reaction to the doctor’s atomizer remedy. I wanted to get across a kid’s overreaction to things they are not familiar with and show the comical side of it. In the end, I was pleased with how the painting was staged and enjoyed executing it in this loosely evolving manner.”

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WESTERN ART INSIGHTS

serious conversation, which, as you can imagine, is a source of endless frustration— albeit humorously—for his representative, Maryvonne Leshe of Trailside Galleries.

When it comes to his art he is absolutely serious. He will go to extremes to assure every reference and detail in a painting is correct. I remember during the preparation of the painting Feeding the Geese, Morgan had rented a flock of geese. As directed, the owner released the geese into Morgan’s backyard where they scattered to every corner—no way could he gather them together. Morgan had to build an enclosure and catch them one by one and put them in the circle with the young models (his two daughters and a neighbor boy who reluctantly began feeding the geese by hand). Morgan began photographing this unmanageable state of confusion. From dozens of photos he was able to pull together enough

images to produce one of his great masterworks.

In 2010 Morgan produced one of his more popular paintings, Country Schoolhouse, 1879.

He traveled all over the country attempting to find just the right schoolhouse, finally settling for the restored country schoolhouse at Knott’s Berry Farm in Buena Park, California, as the basis, or foundation, of the painting.

To provide the floor plan that would work

best in his compositional design, Morgan purchased a couple dozen antique school desks, cleared out his studio and set up his own schoolhouse. He brought in all the children, determined where each should set—which was as bad as controlling the flock of geese— and, finally, after positioning each child and planning their interaction with each other, it became obvious that in order to establish

“I am often asked where I get my ideas. This painting is a typical example of how these ideas develop. I have had the desire to paint an old-fashioned country doctor for several years. I will jot down an idea that comes to mind in a sketchbook and let it simmer until things fall into place. As the enthusiasm and a story surfaces that inspire me, I return to these earlier sketches and expand on the idea until numerous additional sketched ideas begin to show promise.”

—Morgan Weistling

STAGE 1: The artist says: “At first I had envisioned the doctor outside in his buggy arriving at a cabin on the prairie. I researched this thought and even purchased an authentic doctor’s buggy and additional props such as a vintage doctor’s bag and instruments from the late 1800s. I began reading journals and diaries of country doctors, which helps me to get my imagination to stir and then the ideas begin to flow.”

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STAGE 2: The artist says: “Now that I have made the final decision on having the doctor inside interacting with his patient, I then started searching for models. It is at this point that I start working on the color composition. I change things around and try various combinations to see what works best to tell the story with color and values. This helps direct me, however, I won’t really know what works best until I see it on the fully sized canvas. I chose to use these two small color studies as examples as they are not only very loose, they are so diverse in values.”

some level of control, each child would have find paintings in a corner or turned against the will invite his wife, JoAnn Peralta, also an to be brought back and modeled individually wall, which I am certain most collectors would accomplished artist (featured in the December or in a smaller group. As Morgan was rapidly enjoy adding to their collection. To Morgan issue of Western Art Collector), and a select approaching the deadline for the Masters of there is still something missing with these group of friends for their opinions and reactions. the American West Fine Art Exhibition and works, something not just right.

Often Morgan will call and ask me to Sale, he called me in panic. He couldn’t find Morgan considers a truthful critique essential drop by and look at a painting in progress. an acceptable model for the school teacher, to the painting process. At some point he I always look forward to this experience; the central figure in his composition. certainly I am not a recognized critic, Immediately I thought of artist George however four eyes are sometimes Carlson’s daughter, Andra Carlson; she better than two, and after all these would be perfect, the all-American girl, years of appreciating art, I may, from a part-time actress, a sweet disposition, a different perspective, see or read wholesome, attractive—the perfect model. something in a different way that I called and she agreed to help out. The may be beneficial. This exercise following day we drove out to Morgan’s. usually starts with my arrival and Andra had fixed her hair in a style suitable the invitation into his studio. As for the late 1800s, she put on the dress soon as I pull up a chair in front of Morgan had chosen, and followed his the painting, he walks behind the instruction and his suggested gestures painting and begins to pace back perfectly. She seemed to just float through and forth, hardly giving me a chance the rows of desks. I have never seen to relax and begin to study the work.

Morgan so pleased; he must have taken a He begins with: “Keep in mind hundred photographs.

I am not finished, I am still working Each painting is a challenge for on it…” followed by “Go ahead, you Morgan. There has never been a painting can say anything you want, just be STAGE 3: The artist says: “I began by laying in the head of the he has considered totally finished. He honest.” This is where I am tempted doctor first since he is my focal point. I work from there very continues to make small adjustments, to get even with him for some of quickly covering the entire canvas. I see this as my first round with often sending the painting off still wet. his practical jokes, however this is many adjustments to come later. I photographed the doctor’s head He will never state that he is completely not the time; he is really serious. close up to provide a well-defined image as an example of how satisfied—he occasionally may say he is After a few minutes, and his repeated I work at this point. I was extremely fortunate to find ‘Chubb’s’, pleased with a painting, but that is as far request for me to make a statement— this local gentleman who was willing to set as the model for the doctor. He was perfect and a pleasure to work with.” as he will go. While in his studio I will and continued pacing—we discuss

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WESTERN ART INSIGHTS

STAGE 4: The artist says: “Now that the canvas is covered I can begin to judge if everything is headed in the right direction. At this point I wasn’t sure if the little girl was working for me or against me. I refined her to see if it would help me decide. It was then I realized she added a tone of seriousness that I didn’t like.

I scraped her out and as the removed image looked like a ghost, I painted a couple of eyes on the ghost and let it hang around while I refined other parts of the painting.”

the painting. The design and composition is always exceptional, there may be something lacking in the message he is attempting to convey, the control of light and shadow always perfect; however, the introduction of a more vivid color or slight change in value may make a difference. In some cases my suggestions make a difference, or they may lead to an alternative approach. Together we seem to find the answer to something that has eluded him for weeks on end.

Over the years I have observed numerous artists at work; this is always an amazing experience. There are similarities; however, each artist has developed a formula that fits their distinctive thought process and the progressive development of the work.

Morgan walks a thin line that maintains a separation from illustration and fine art; he has mastered the ability to suggest detail and has developed what is referred to as a painterly approach to his work: purposeful brushstrokes, the use of texture and a skillful use of edges. The interaction of direct and indirect light is remarkable. Morgan’s sensitive

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transition points of color values always intrigue me, as these complexities of color suggest the introduction of light, shadow or detail. There is a story to be told with either the single figure or the interaction of multiple figures and yet there always remains something for the viewer to interpret.

When Morgan shared with me his idea for the featured work of his 2013 Masters of the American West presentation, The Country Doctor, it was apparent from his enthusiasm that this would be an opportunity to follow the development of what promised to be one of Morgan Weistling’s masterworks with you, the readers of Western Art Collector.

When traveling with Howard Terpning through Montana and Wyoming, he envisions the Plains Indian people within this majestic landscape; it may be a mountain stream, a rushing river, an interesting abstract formation of rocks; that draws his attention, he will take out his camera and record the scene. Clyde Aspevig, while on a pack trip, may stop along the trail and capture in plein air the ideal moment when the light is perfect, a scene you

and I might pass unnoticed. Morgan Weistling, while reading or simply relaxing, may come upon an idea that inspires him. He will record the idea in a small thumbnail sketchbook for later reference, expanding on it within the same day or even months in the future. Every successful artist has developed his or her own formula in gathering material and inspiration.

It has been my experience in observing the development of a painting by most artists, an idea is developed into a sketch, researched and modified into a well-designed composition, a color study is produced to resolve color compositional problems, and a canvas size is determined to fit the composition. Then, the original drawing is transferred onto the prepared canvas and the artist is ready to begin the painting.

Morgan’s preparative process uniquely differs from any other artist I know. Once he settles on a specific idea, subject, and story, and has completed his research, he returns to his thumbnail sketches, just letting his mind wander freely resulting in often undecipherable overdrawings of intrusive forms and lines. Until after the progression of several modifications of the original idea— and numerous additional sketches—an idea is formed that pleases him. He will develop from this sketch a rough (however well-designed) small compositional study also addressing color compositional problems. He locates the necessary models posing them in various attitudes or positions, often calling them back during the process of developing the character either for additional photographs or live modeling. As nothing at this point is sacred, anything can change. Initially, the doctor was to arrive outside the home, Morgan had purchased an authentic doctor’s buggy and instruments; obviously the buggy was put in storage for another time.

After determining the size and preparation of the canvas, there is no transfer of a prepared drawing onto the canvas. Morgan begins with the focal point, the head of the doctor in freehand loosely roughing in the image and working very quickly covering the entire canvas.

At this point he can step back and look at the larger composition, and also, as he describes it “step into the painting and walk around to determine if he is successfully telling the story while interacting with each of the figures.” He may scrape out a figure, move their location, or possibly add another figure. During the

STAGE 5: The artist says: “I had scraped off the little girl and then decided to try her in a lighter mood. I was also feeling that she attracted too much attention away from the doctor and boy so I tucked her behind him more. As soon as I finished with her, out came the scraper and she was gone again. None of these changes are mistakes. They are part of the bigger process of getting the story told and I expect it to happen. It’s not about executing it flawlessly; where every stroke must remain.

If I were to think that way, it would be a very superficial way of working. Once I get something on canvas, I then like to step into the painting and look around and get a feel for it with my mind’s eye. I may assume the part of one of the characters, I think of things that a kid would do or leave on the ground. I might see how the light needs to tie things together better or how color should bounce around.”

progression of the painting numerous changes flow through his imagination.

The concept of the story of The Country Doctor includes a young boy, Clark, and the family’s country doctor. Clark’s reaction to the doctor’s atomizer remedy is the story’s focal point. Morgan wanted to establish a child’s overreaction to things with which they aren’t familiar, and show the comical side of that reaction. To accomplish this, it was important to keep the boy from looking too sick. Morgan gave him a little bit of a red nose, but his energy is still intact as he grips the covers in anticipation of the horribly mysterious thing in the doctor’s hand, not sure where it may be inserted.

Secondary is the mother and young sister’s reaction to this scene—Morgan made a point of having them support the lighter side of this story. The doll lying on the floor by the doctor indicates his sister was closer to Clark’s bed, but when the doctor arrived, she dropped the doll and hid behind her mother’s apron—a reaction Morgan had witnessed with his own

younger daughter numerous times. The mother does not appear overly worried, and a touch of amusement even falls across her face. The doctor in real life is known as “Chubb’s.” He is shown intently reading a medicine label and his bag is disrupted with bottles of tonics and such, with a bit of disorganized rummaging.

Morgan’s interaction with his models during the development of the story line he finds most rewarding. As Morgan states, “This is what makes painting for a living fun.”

After several conversations with Morgan, I made the decision to successfully describe his thought process and the progressive development of this painting. This proved to be the most astute decision I could have made; I am certain you will enjoy the experience of walking around the inside of the painting with Morgan and reading his thoughts.

Morgan considers the country doctor an important aspect of early-American tradition as they played a very crucial role in its development. He hopes he has paid tribute to

these dedicated, selfless heroes.

Although the “finished” painting is presented in this article, it is understood Morgan will continue to hone it and make small modifications until he is forced to surrender it just before it is placed on the walls at the Autry Museum’s Masters of the American West exhibition in February 2013.

Morgan Weistling is represented exclusively through Trailside Galleries in Jackson, Wyoming, and Scottsdale, Arizona.

About John Geraghty John Geraghty, Trustee and Special Advisor to the Autry National Center’s Masters of the American West Fine Art Exhibition and Sale, shares his insights on the Western art scene. Both he and wife Saralynn are afflicted with the incurable passion of collecting Western art.

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