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Pueblo Series, Acoma: Raymond Jonson

Pueblo Series, Acoma: Raymond Jonson The rugged beauty and strength of lofty landforms appealed to Raymond Jonson (1891-1982), evoking in him an emotional recognition of phenomena in the natural world, feelings that he in turn sought to convey in his works. Elements in his surrounds that signified the orderly tempo of nature could also serve to symbolize more intangible sensibilities, such as his aspirations for a peaceable earth. Raymond Jonson (1891-1982), Pueblo Series, Acoma, 1927, American. Oil on canvas. 92.7 × 110.5 cm. Courtesy of the Denver Art Museum (http://denverartmuseum.org/), Denver, Colorado; William Sr and Dorothy Harmsen Collection, 2001.441. Photograph courtesy of the Denver Art Museum. © University of New Mexico Art Museum, Albuquerque. Jonson was born in the heartland of the United States in Iowa, but as a child he lived in several states as the family followed the father’s clergy postings, finally settling in Portland, Oregon. Jonson earned money by delivering newspapers and was attracted to drawings he saw within, leading to a career plan of becoming a commercial artist. Beginning around 1909 he received instruction at a newly established school at the Portland Art Museum (Garman E. The Art of Raymond Jonson: Painter. Albuquerque: University of New Mexico Press; 1976:xiii-199). To add to his artistic experience, Jonson traveled to Chicago in 1910, enrolling in the Chicago Academy of Fine Arts. Although he was initially engaged in commercial art studies, it was ultimately fine art to which he decided to dedicate his life. He thus went on to receive education at the Art Institute of Chicago as well. Jonson’s tutelage in Portland may have largely represented an older era of art that preceded modernist movements, but in his new environs he was soon made aware of evolving trends. An influence of note occurred with his instruction by B. J. O. Nordfeldt, known for elements of expressiveness in his work, and who was a proponent of a more improvisational artistic procedure. Other sources of inspiration included the 1913 Armory Show, which jolted some viewers unaccustomed to seeing examples of modern art such as that of Cubism. Jonson, however, found the exhibition exhilarating and stimulating. To support his own artistic journey, Jonson found employment at the Chicago Little Theatre. In this position he wore many hats including the designing of set décor, managing the lighting, and even actor at times. This opportunity aided his development as an artist in increasing his awareness of the emotional impact of color and light. Of import for him personally was his acquaintance with Vera White, to whom he was married in 1916 (McCauley EA. Raymond Jonson: The Early Years. Albuquerque: Art Museum/University of New Mexico; 1980:1-32). After the closure of the theater, Jonson was sustained for a time in part by teaching at the Chicago Academy of Fine Arts and also through a New York City MacDowell Association scholarship, allowing him to paint at the MacDowell Colony in New Hampshire in the summers of 1919 and 1920. Following his East Coast sojourn, he returned to the Midwest and became acquainted with the writing of Wassily Kandinsky, who extolled expression of the inward emotions, admonition well received by Jonson. Another aspect of Jonson’s artistic mindset involved his conceptual quest for tranquility in the world, perhaps reflecting his response to wars of the 20th century. As noted, it was because of this bent toward utopianism that his work rose above the simply decorative (McCauley, pp 9-12). In travels in the West around 1917-1918, Jonson had encountered vistas that stirred his artistic imagination. He was similarly impressed in a visit to Santa Fe in 1922, at which time he purchased a parcel of property, followed by a move to the area in 1924. After construction of a home and studio, he was ready to chronicle on canvas the surroundings he so admired. In a scene from New Mexico, Pueblo Series, Acoma, rocky steles seem to nearly touch the gray-blue vaporous veils rippling across the sky. In the distance, adobe edifices are snugly nested together atop the mesa, the elevated location serving to provide some measure of safety for pueblo inhabitants. Beaded clouds mark the horizontal lines of distant purplish ridges balanced by perpendicular panels that may represent atmospheric activity. All appears in a state of equilibrium and serenity. A path or two appears visible that may lead the traveler toward the refuge on the geological pedestal. Visual impact is achieved with use of a quasi-abstractive approach in which the planar surfaces of the pinnacles are emphasized with glowing pigments outlined by contrasting shadows, and the towers of stone are silhouetted against a soft blue backdrop extending into infinity (http://denverartmuseum.org/collections/western-american-art). In time, Jonson’s work became more purely abstract, but he was seemingly unwavering in his vision for the potential for art in its power as a means of uplifting humankind (Garman, pp 164-166). Jonson’s life was replete with his continuing artistic experimentation and with teaching at the University of New Mexico in Albuquerque. In addition to his colorful and innovative body of work, a vital aspect of his career appeared to be his enthusiasm for ways in which art can contribute to the well-being of the world. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png JAMA American Medical Association

Pueblo Series, Acoma: Raymond Jonson

JAMA , Volume 315 (14) – Apr 12, 2016

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Publisher
American Medical Association
Copyright
Copyright © 2016 American Medical Association. All Rights Reserved.
ISSN
0098-7484
eISSN
1538-3598
DOI
10.1001/jama.2015.14203
Publisher site
See Article on Publisher Site

Abstract

The rugged beauty and strength of lofty landforms appealed to Raymond Jonson (1891-1982), evoking in him an emotional recognition of phenomena in the natural world, feelings that he in turn sought to convey in his works. Elements in his surrounds that signified the orderly tempo of nature could also serve to symbolize more intangible sensibilities, such as his aspirations for a peaceable earth. Raymond Jonson (1891-1982), Pueblo Series, Acoma, 1927, American. Oil on canvas. 92.7 × 110.5 cm. Courtesy of the Denver Art Museum (http://denverartmuseum.org/), Denver, Colorado; William Sr and Dorothy Harmsen Collection, 2001.441. Photograph courtesy of the Denver Art Museum. © University of New Mexico Art Museum, Albuquerque. Jonson was born in the heartland of the United States in Iowa, but as a child he lived in several states as the family followed the father’s clergy postings, finally settling in Portland, Oregon. Jonson earned money by delivering newspapers and was attracted to drawings he saw within, leading to a career plan of becoming a commercial artist. Beginning around 1909 he received instruction at a newly established school at the Portland Art Museum (Garman E. The Art of Raymond Jonson: Painter. Albuquerque: University of New Mexico Press; 1976:xiii-199). To add to his artistic experience, Jonson traveled to Chicago in 1910, enrolling in the Chicago Academy of Fine Arts. Although he was initially engaged in commercial art studies, it was ultimately fine art to which he decided to dedicate his life. He thus went on to receive education at the Art Institute of Chicago as well. Jonson’s tutelage in Portland may have largely represented an older era of art that preceded modernist movements, but in his new environs he was soon made aware of evolving trends. An influence of note occurred with his instruction by B. J. O. Nordfeldt, known for elements of expressiveness in his work, and who was a proponent of a more improvisational artistic procedure. Other sources of inspiration included the 1913 Armory Show, which jolted some viewers unaccustomed to seeing examples of modern art such as that of Cubism. Jonson, however, found the exhibition exhilarating and stimulating. To support his own artistic journey, Jonson found employment at the Chicago Little Theatre. In this position he wore many hats including the designing of set décor, managing the lighting, and even actor at times. This opportunity aided his development as an artist in increasing his awareness of the emotional impact of color and light. Of import for him personally was his acquaintance with Vera White, to whom he was married in 1916 (McCauley EA. Raymond Jonson: The Early Years. Albuquerque: Art Museum/University of New Mexico; 1980:1-32). After the closure of the theater, Jonson was sustained for a time in part by teaching at the Chicago Academy of Fine Arts and also through a New York City MacDowell Association scholarship, allowing him to paint at the MacDowell Colony in New Hampshire in the summers of 1919 and 1920. Following his East Coast sojourn, he returned to the Midwest and became acquainted with the writing of Wassily Kandinsky, who extolled expression of the inward emotions, admonition well received by Jonson. Another aspect of Jonson’s artistic mindset involved his conceptual quest for tranquility in the world, perhaps reflecting his response to wars of the 20th century. As noted, it was because of this bent toward utopianism that his work rose above the simply decorative (McCauley, pp 9-12). In travels in the West around 1917-1918, Jonson had encountered vistas that stirred his artistic imagination. He was similarly impressed in a visit to Santa Fe in 1922, at which time he purchased a parcel of property, followed by a move to the area in 1924. After construction of a home and studio, he was ready to chronicle on canvas the surroundings he so admired. In a scene from New Mexico, Pueblo Series, Acoma, rocky steles seem to nearly touch the gray-blue vaporous veils rippling across the sky. In the distance, adobe edifices are snugly nested together atop the mesa, the elevated location serving to provide some measure of safety for pueblo inhabitants. Beaded clouds mark the horizontal lines of distant purplish ridges balanced by perpendicular panels that may represent atmospheric activity. All appears in a state of equilibrium and serenity. A path or two appears visible that may lead the traveler toward the refuge on the geological pedestal. Visual impact is achieved with use of a quasi-abstractive approach in which the planar surfaces of the pinnacles are emphasized with glowing pigments outlined by contrasting shadows, and the towers of stone are silhouetted against a soft blue backdrop extending into infinity (http://denverartmuseum.org/collections/western-american-art). In time, Jonson’s work became more purely abstract, but he was seemingly unwavering in his vision for the potential for art in its power as a means of uplifting humankind (Garman, pp 164-166). Jonson’s life was replete with his continuing artistic experimentation and with teaching at the University of New Mexico in Albuquerque. In addition to his colorful and innovative body of work, a vital aspect of his career appeared to be his enthusiasm for ways in which art can contribute to the well-being of the world.

Journal

JAMAAmerican Medical Association

Published: Apr 12, 2016

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