Marianne Osiel...
and again in 1999, she played Mainstage at Kerrville Folk Festival. From 2000–2002, she toured the country as a member of the John Hall Band, playing acoustic guitar, slide, and oboe. She opened many of those shows with a solo set of original material.
Sophistication with a Twist of
On stage, Marianne consistently delivers powerful, honest, convincing performances, whether solo artist or with band. It’s in the recording studio where Marianne’s myriad of musical talents ‐ writer, arranger, producer, singer, multi‐instrumentalist ‐ are most unleashed. Listen to her CD, “Full Of Wholes”, and you’ll hear personal songs of love, loss, and longing. Surrounded by a tasteful and intimate production, her formidable guitar playing moves seamlessly from delicate to ferocious; her voice rises from a delicate whisper to a soaring alto, oozing emotion. She reaches into your heart and mind, inviting you to risk a new thought, a hidden feeling.
Bohemian –
by Cindy Nunn
About Marianne: To say that Marianne Osiel is a passionate singer‐songwriter is to tell only half her story. Her musical journey is truly a unique one. She took her first piano lesson at the age of five, in her home town of Santa Barbara, CA. At nine years old, she began playing guitar, the flute a year later, and at age 13 began studying the oboe. At age 15, she began more serious studies at the Interlochen Arts Academy in Michigan, majoring in oboe and minoring in voice. In 1974, she was only oboist in the country selected to attend the Cleveland Institute Of Music, where she studied under John Mack. She secured her first orchestra chair with the Santa Barbara Symphony in 1977, and stayed on for two years. After a brief period of study at the San Francisco Conservatory (on a full scholarship), she moved to Nashville, where she was a member of the Nashville Symphony for ten years. In addition, she was a first‐call session player, appearing on hundreds of recordings. While in Nashville, Marianne blossomed as a singer‐songwriter, often playing as a solo artist “in the round” at the Bluebird Café, or leading one of her bands, the Delta Elements, at 12th & Porter or Ace of Clubs. In the fall of 1998, Marianne moved to New York, and soon began performing in clubs in the Northeast. Earlier that year,
Her debut release, “Strange Girl”, presents an explosion of creativity and diversity. This self‐produced collection of intricate and provocative songs features Marianne playing seven instruments (most notably guitar, slide, and oboe), and with the support of some of Nashville’s finest studio musicians, the tunes jump off this CD – soulful, rockin’, symphonic, and just plain funky. Combining her talents as classical oboist with her propensity for adventure, she released “How the Light Gets In” (June 2005), an eclectic collection of oboe and keyboard improvisational duets. Her CD recording, “Peacemeal” (free of charge), which was created after 911, encourages self‐healing as the seed for healing in the world. Among the many musicians she has performed and recorded with in both the classical and the pop world are: Jo‐el Sonnier, John Hall, Nanci Griffith, Ashley Cleveland, Gary Nicholsen, Nashville Symphony, Nashville String Machine, Roy Orbison, Itzhak Perlman, Michael LeGrand, Emmy Lou Harris, Take Six, Reba McIntyre, Marvin Hamlisch, and Judy Collins. As a backup musician, she has performed with John Hall (Orleans), Robbie Dupree, Jackson Browne, Nanci Griffith, Daryl Tookes, and Rick Danko (The Band), among others. In the past
few years, Marianne has taken a more passionate interest in healing through music and prose writing.
Meeting Marianne: The author of this article stumbled upon Marianne one day while conducting research for her next non‐fiction book., a story about a bizarre religious cult founded and run by a woman who was an expert in the art of manipulation. Marianne's grandfather had, at the very least, a minor role in connection with this cult leader, and possibly a more major role than at first realized. Little did the author know that her search for information about a long dead West Coast antiques dealer would lead her to such a brilliantly talented musician, song writer and singer in the state of New York. What started out as a fishing expedition for information about Marianne's grandfather and the location of some very strange cult‐related gold gilded furniture turned into an interest and curiosity about Marianne and her music. To say that Marianne is passionate about life, her music and meeting new people would be an understatement. This is one woman who is definitely full of High Octane with enthusiasm! There are rare times in our lives when we have all felt that we have been very specially blessed with the gift of meeting someone so incredibly talented, and for the author this was one of those times.
Marianne sent the author a varied selection of her recordings, which showcased her wide range of talents in the different genres of music. As the author listened to each one she was taken on a wild roller coaster ride of emotions, from jubilant elation to the deepest sorrow, and every feeling in between. One song would have her dancing in her seat with the catchy beat, while the next would bring her near to tears with its beautiful serenity and soothing intonations. Even the author's 6 month old granddaughter was not immune, as she sat on the author's knee with her legs merrily dancing to the music. The author's personal favorites are “Me and You and the Full Moon” from the Full of Wholes album, and “The Committee” from the Strange Girl album, both of which touched her soul in a very personal way. The author found that she and Marianne actually have a lot in common. Both are natives of California. Marianne is a musician, and the author is married to a musician. Both have had their lives touched distantly by a strange, matriarchal cult, which originally brought them together. And, like the author, and typical of many artistic people, Marianne has a very unique, slightly eccentric and multi‐faceted crafty side to her.
From using nail polish on her boots to create a cool, funky and personal touch, to sewing her own tapestries with left over pieces of fabric, Marianne manages to keep her brilliant mind and talented hands busy. Did I fail to mention that, like the
author, she often finds it hard to sleep, so being artistically inclined helps to pass away the long hours of the night.
"An attractive, refreshing, original artist . . ." - Rod Kennedy, Director, Kerrville Festival "Marianne has a gift for very original songwriting combined with a beautiful voice and formidable skills of expression as an oboist." - Dave Sancious, Keyboardist (Eric Clapton)
To find more information and/or purchase CD’s: www.youtube.com/user/maitrimusic/videos www.CDbaby.com, Reverbnation.com, Facebook.com Email: MOSIEL440@optonline.net
Quotes About Marianne as an A rtist: "Listening to Mariane Osiel reminds me why I continue to do what I do as an accompanying bassist to great singer/songwriters. Her songs are sophisticated and full of surprises and her voice is rich with nuance. There's something new and rewarding to connect with on every listening. If you like Shawn Colvin and Bonnie Raitt you'll love Mariane Osiel!" - Michael Visceglia- musical director & bassist for Suzanne Vega and Kinky Boots “Marianne Osiel is someone to pay close attention to…. truly a very special musician and creative force.” - Rob Mathes (Celine Dion, Elton John, Bonnie Raitt) "Marianne is a major talent. She's an intense player who has music in her soul. " - Tommy West, Producer (Jim Croce and Anne Murray) "Marianne is a powerful songwriter and a dynamic artist." - Robbie Dupree, Songwriter (Hit songs: "Steal Away" and "Hot Rod Hearts") "A true individual in a town that often churns out conformist musical product." - Windplayer Magazine "Marianne is a musician of rare quality and her honest passion is inspirational." - Tom Kimmel, Songwriter (for Joe Cocker, Linda Ronstadt and Johnny Cash)
Locks of Love Written by Carla Parris, Photos by Carla Parris It should come as no surprise that love locks can be found in Paris, France ‐ a city which is synonymous with romance! In this increasingly popular romantic tradi‐ tion which has proliferated at locations throughout the world, lovers inscribe their names or initials on a pad‐ lock, attach the lock to a bridge or other public struc‐ ture, and throw the key away – in Paris, into the Seine – as a symbol of unending love. In Paris, these cadenas d’amour first appeared on the Pont des Arts near the Louvre. As the number of locks increased, city officials expressed concern over the practice because of its negative implications for the preservation of the city’s architectural heritage, both in terms of locks obscuring the view of the underlying structure to which they are affixed and, because of their weight, potentially threatening its structural in‐ tegrity. When the locks on the Pont des Arts mysteriously disappeared one night in May, 2010, shortly after the administration’s pronouncement of concern, city government was initially suspected, but they denied responsibility, and it was subsequently discov‐ ered the locks had been removed by an art student for a sculpture. Lovers in Paris were undaunted by the government’s expressed concerns and by the removal of the locks from the Pont des Arts. These declara‐ tions of love continued as padlocks immediately began appearing on the Pont de l’Archevêché, near Notre Dame (pictured on the right). They also subsequently reappeared on the Pont des Arts. On a recent trip to Paris, I saw padlocks for sale by entrepreneurial Left Bank bouquinistes near the Pont de l’Archevêché. Something tells me this tradition, which is popular with visitors as well as locals, isn't going any‐ where any time soon in the City of Love! The origin of love locks is not well documented. This modern day variation on lovers carving their initials in a tree seems to have different roots in various locations. In Italy, for example, the practice on the Ponte Vecchio in Florence reportedly has roots in the World War II when soldiers bound for war inscribed their names on a lock, attached it, and threw the key into the Arno river, as a promise to return to Florence, while the tradition on the Ponte Milvio bridge in Rome is attributed to, and was popularised by, a fictitious event in a book by Italian author Federico Moccia, and its film adaptation.
For those interested the book by Frederico Moccia is called “Ho Voglia DI TE,” which translates in English as “I Want You.” Sadly, this book is not yet available in English. So far it has been translated into Spanish, French, Russian and Chinese.
Perhaps the most famous location of luccheti d’amore in Italy, and the place I first encountered this practice, is the Via Dell’Amore, a spectacular coastal footpath connecting the Cinque Terre towns of Manarola and Riomaggiore. According to legend, the Via Dell’Amore was a meeting place for lovers from the two towns. It seems only natural that this “Walk of Love,” with its beauti‐ ful tunnel with windows offering breathtaking views to the sea below and its famous sculptural “Love Seat” built in the shape of two people embraced in a kiss, is a popular site for tourists and locals to place their locks and toss the keys into the sea. Love locks are truly a worldwide phenomenon. They can be seen everywhere from the N Seoul Tower in South Korea, to the Sydney Harbour Bridge in Aus‐ tralia, to Mount Huang, China. The locks have been on the Most Ljubavi pedestrian footbridge in Serbia since before World War II, and on the newly constructed Butcher Bridge in Ljubljiana, Slovenia almost since the day it opened. The latter site is another place I have seen love locks and had the pleasure of photographing them. They certainly are a photographer’s delight! While the locks are an impressive sight in places like the Pont de l’Archevêché just be‐ cause of the sheer number, what I find most interesting is the view upon close inspection. I love seeing the variety of locks, the sometimes artistic configu‐ ration of a jumble of locks, and the occasional ingenious placement of locks. But the very best part of a close view is seeing individ‐ ual locks, with their personalized messages, and getting a glimpse into the very real people who placed the locks, and their unique personal stories. While I have only seen love locks on my international travels, Lovelock, Nevada is one of a growing number of locales in the United States where love locks are present. Unlike places where the practice is discouraged or prohibited, Lovelock, which dubs itself “the nation’s official love‐locking destination,” invites participation in this tradition. On Valentine’s Day in 2006, the city dedicated Lovers Lock Plaza, which has a circle of green metal pillars connected with chains to which locks may be affixed, in what the city describes as the ancient Chinese tradition of symbolically locking one’s love on a never‐ending chain. In the past, there have been segments in movies, such as Karate Kid and See Me Now where love locks have appeared or been men‐ tioned. However, ScreenACT has recently announced that production of a feature‐length film called Locks of Love is in the works. This film will be an anthology of 10 short stories, each featuring a love lock somewhere in the plot. Not unexpectedly, love locks also have a presence on the Internet. There are multiple websites where one can order custom love locks for use in the traditional manner. There is also at least one website where lovers are invited to seal their love on the web by making a personalized declaration of their love for virtual posting on a bridge of their choice. So opportunities abound for love who so desire to lock their love, either in person, in a roman‐ tic location of their choice, or in cyberspace, and to lovers everywhere, as they say in Paris, “Vive l’amour!”
To buy your own Lock of Love try these sites: http://lovelocksonline.com/ http://www.masterlovelock.com/ http://www.makelovelocks.com/
Love locks in Slovenia. Photo by Carla Parris.
Experiencing the Wilderness of the California Coast by Shree Mani, Photography by Shree Mani
Me and my wife planned a visit for night photography to Big Sur Pacific Coast region which is about a 6 hr drive from Los Angeles. I don't think we ever missed a chance to enjoy the night sky when we were given the opportunity to do so in our trips. We started driving at 10.30 am and reached Pfeiffer Beach by 4.00 pm. In between we had some astounding views of the pacific coast. The world famous CA1 highway goes along the coast. We stopped for some photographs with the elephant seals up close.
Illustration 1: Elephant seals resting in the beach, photo Š Shree Mani
Pfeiffer Beach, it was one of the windiest beaches I have ever been with monstrous waves crashing on the rocks it intimidates a new person visiting the beach for the first time. We enjoyed watching an amazing sunset at the beach and took some photos standing against a cold wind blowing from the Pacific Ocean.
Illustration 2: Pfeiffer Beach Sunset. Photo Š Shree Mani.
Illustration 3: Crashing Waves at Pfeiffer Beach. Photo © Shree Mani.
Illustration 4: Pfeiffer Beach Portal. Photo © Shree Mani.
We planned to come back to the beach that night again to admire Pfeiffer's beauty in moon light. To experience dark sky and to capture good Astro-landscape photographs, one should look for the 1/3rd moon phase. This was one such night when we would be able to watch the stars along with the moon illuminated beach and its massive rock formation. We went to the lodge and got ourselves warmed up. We ventured into the beach at around 9:30pm to capture the moonlit Pfeiffer. Stunned by its beauty in moonlight, I kept watching the crashing waves creating white surf with the Moon and Venus bright in the western sky.
Illustration 5: Venus getting trapped in between the rock formation along with white surf. Photo Š Shree Mani.
Illustration 6: Light painted Rock Structure at Pfeiffer Beach CA. Photo Š Shree Mani.
As we wished to spend sometime in the beach just being amazed by the nature, I wanted to experiment light painting on the silhouetted rocks. The results can be seen in illustration 6.
Illustration 7: The Milky Way, just before sunrise. Photo Š Shree Mani.
When we were done with our photography we called it a night and went back to the hotel room to rest for the night. In the morning an hour and half to Sunrise we wanted to go capture the rising Milky Way Galaxy. We drove for about half hour to go to a spot from where we can clearly view the Milky Way. We captured the milky way along with the first light of the day just before the Sunrise near the cliff. To sum it up it was one great experience which we will cherish for life time. We finally started back on our long drive back home and we wanted to capture the moment with a self portrait shot in the twilight.
Illustration 8: Shree and his wife in silhouette. Photo Š Shree Mani.
Mad as a March Hare by Cindy Nunn
Most of us became familiar with the March Hare through the Lewis Carroll story Alice's Adventures in Wonderland, where he is most associated with The Mad Hatter and the Dormouse. The Hare is also known as “Haigha” in Through the Looking Glass, which seems to be a lesson in the play on words and the sometimes slippery nature of their definitions. It is also about things that are there but cannot necessarily be seen. The name of Haigha is most likely an example of this, as Haigha is thought to be an Anglo-Saxon word which describes “a fence that is hidden inside a ditch so as not to spoil the view.” Lewis Carroll (Charles Dodgson) liked to add such twists and puzzles to his stories, so it is possible that the name of Hatta (in place of Mad Hatter) in the Looking Glass work is derived from the Hebrew word “Hata,” which is used to convey the sin of breaking a relationship. Carroll/Dodgson had been groomed from a young age to become ordained in the Anglican Church, so he would have been very familiar with such Hebrew terms and phrases.
The March Hare as illustrated by John Tenniel
The John Tenniel illustration of the March Hare (on the left) features a hare with a pile of straw on his head. In Victorian times straw on the head was a common way to depict madness or mental instability.
In any case, the term “Mad as a March Hare” was not originally coined by Lewis Carroll, but is in fact an English idiomatic phrase with known origins going back to at least the 16th century, and possibly even before then. It has been a long-held common belief throughout Europe that during the March breeding season hares will behave strangely and act out in odd and violent ways, such as jumping vertically for no apparent reason, boxing at other hares, and behaving in an unpredictable and excitable manner. Hares actually have an active breeding season from January through August, with night time being the preferred time by the bucks for reproductive activity. However, since the month of March has a shorter night time cycle the bucks will also become active during the day time, hence the term “March Madness.” Today, March Madness is associated with basketball, when 64 college basketball teams go into full battle mode for the NCAA Division I Championship. It is also a time when businesses take advantage of the opportunity to offer freebies, discounts and other incentives to attract customers to their establishments. As for us at Eye on Fine Art Photography magazine, we are taking advantage of the “March Madness” season to help promote fellow photographic artists, To this end, we hosted the “March Madness” contest, where artists could enter images full of wild, vibrant, and chaotic bursts of color. With so many suffering through a particularly cold and wet winter we thought a colorful theme would give many that boost of cheer needed to uplift their spirits.
"Young Hare," a watercolor, 1502, by Albrecht Dürer
Like the other contests we hosted this month, we allowed entrants to vote for the feature winners, and the editors would pick the additional inclusions. With so many beautiful submissions it was a difficult task to narrow it down to just a few. We hope you enjoy the pieces we have chosen, and remember that if you are interested in owning any of them please contact the artist at the link provided under their image.
March Madness Contest Winners by Cindy Nunn
In February we hosted a contest looking for images with lots of vibrant color. The submissions just kept dropping in up to the very final deadline time. It was a real joy going through all of the entries as looking at anything with such happy, rich colors is a much appreciated mood lifter and booster, especially for those suffering through a particularly bad winter. For centuries philosophers, physicians, and Tattoo Shop image by Cindy Nunn.
free-thinkers have studied and known about the healing properties of colors. One of the first to recognize the power of chromotherapy was
th
Avicenna, a 10 century Persian, also known in history by his birth name of Ibn Sīnā, who was a polymath, which means that he was a man who knew much through extensive learning. Of the nearly 450 works he wrote one of the most famous and widely used was “The Canon of Medicine,” which became a standard medical text in many medieval universities. Included in this most widely regarded of all medical encyclopedias is his theory of chromotherapy. So, the images on the following pages are not only pleasant to look at, they are good for you! How's that for a health regime that is painless and requires little to no sacrifice, other than the time it takes to browse? Our 1st Place winner is Joann Vitali, with her photograph of colorful buoys, entitled, appropriately enough, “Buoys.” Its amazing that something as simple and utilitarian as a group of buoys can be used to create such a beautiful composition. Our 2nd Place winner is Mitch Shindelbower with his own personal vision, entitled “The Land of Oz.” This is truly a magical and endearing piece full of dreamy and soft, yet vibrant colors. Our 3rd Place winner is Stephen Allen with his image entitled “Romantic Thailand.” The rich brown tones in the boat and the soft, calm soothing colors of the water makes one want to climb aboard and drift lazily out to sea. Besides our feature winners we have also hand picked some other favorites from the contest, all equally full or color. Also, don't forget, if you like an image you can purchase a copy by contacting the artist directly through the link provided to their website.
“Soon it got dusk, a grapy dusk, a purple dusk over tangerine groves and long melon fields; the sun the color of pressed grapes, slashed with burgundy red, the fields the color of love and Spanish mysteries.” ― Jack Kerouac, On the Road
“Mere color, unspoiled by meaning, and unallied with definite form, can speak to the soul in a thousand different ways.” ― Oscar Wilde
"Buoys" by 1st Place winner Joann Vitali. http://fineartamerica.com/featured/1-buoys-joann-vitali.html
1st Place Winner – Joann Vitali
"Motif no. 1 - Red Fish Shack," by Joann Vitali. http://joann-vitali.artistwebsites.com/featured/motif-no-1-red-fish-shack-joann-vitali.html
Growing up in southern Connecticut, I attribute my passion for photography to living so close to New York City. As long as I can remember, New York City has fascinated me with its mixture of old and new America. This is depicted in my New York Series of photographs in the first phase of my photography. In between my move from Connecticut to New Hampshire, I did a great deal of traveling by auto across our country. I've spent time in Oregon, Southern and Northern California, Pennsylvania, and Florida. During this time I had the opportunity to photograph the roadways and scenic vistas of this beautiful land. After finally settling down in New Hampshire, my interests seemed to steer me towards photographing the beauty of everything New England. This is the current series I am working on. I'm a member of the Nashua Area Artists Association and the New Hampshire Society of Photographic Artists. Work has been exhibited at the Exeter, New Hampshire Town Hall, the Chimera Art Gallery, the Chandler Library, Gallery One, and Martin's Photographix and Digital Exhibits, in Nashua, New Hampshire. My most recent accomplishment is having my photograph 'Lady Butterfly' featured on the cover of Mused magazine for the Fall 2012 issue. "Dockside Parking" by Joann Vitali. http://joannvitali.artistwebsites.com/featured/dockside-parkingjoann-vitali.html
To browse my galleries or purchase a copy of my photographic artwork, please visit me at: http://joann-vitali.artistwebsites.com/index.html
2nd Place Winner – Mitch Shindelbower
"The Land of Oz" by 2nd Place winner Mitch Shindelbower. http://fineartamerica.com/featured/the-land-of-oz-mitch-shindelbower.html
Mitch Shindelbower, of South Lake Tahoe, California... I paint with my camera. The beauty of nature moves me to capture natural occurrences in an artistic manner. My specialty is wildlife, landscape,nature, in California and other various locations in the United States. I have a large emphasis on the Sierra Nevada's and the Lake Tahoe basin as my family and I have resided there for close to 20 years. My hope with photography is not only to create something I couldn't do with a brush or palate, but also to translate my relationship with nature to others as well as help others find theirs. To see more of my work, to purchase or just browse, please visit my galleries at: http://fineartamerica.com/profiles/mitch-shindelbower.html?tab=artworkgalleries
"Water and Color" by Mitch Shindelbower. http://fineartamerica.com/featured/water-and-color-mitchshindelbower.html
3rd Place Winner – Stephen Allen
"Romantic Thailand" by 3rd Place winner Stephen Allen. A colorful photograph of a long tail fishing boat in Thailand set against an ominous looking stormy horizon. http://fineartamerica.com/featured/2-romantic-thailand-stephen-allen.html
I'm an Australian photographer living in Switzerland. When I say I’m a photographer I may be exaggerating a little. I earn my living as an engineer and taking photos is something I just love doing. If you enjoy my 'work', please get in touch. You can browse my galleries at: http://fineartamerica.com/profiles/stephen-allen.html
"Waiting for You" © Alexander Senin. http://fineartamerica.com/featured/waiting-for-youfeatured-3-alexander-senin.html
"Colour Splash" © Bianca Nadeau. http://fineartamerica.com/featured/colour-splash-biancanadeau.html
"Ticket Shack" © Barbara McDevitt. http://fineartamerica.com/featured/ticket-shack-barbaramcdevitt.html
"Monarch Butterfly" © Tracy Winter. http://fineartamerica.com/featured/monarch-butterfly-4tracy-winter.html
"Tile Roof" © Wayne Maris. http://fineartamerica.com/featured/tile-roof-wayne-maris.html
"Colors of Fall" © Judy Palkimas. http://fineartamerica.com/featured/primary-colors-of-fall-judypalkimas.html
"When A Woman Dreams" Š Karen Wiles. http://fineartamerica.com/featured/when-a-woman-dreams-karen-wiles.html
"Graffiti at the Cadillac Ranch, Amarillo, Texas" Š Mary Lee Dereske. http://fineartamerica.com/featured/graffiti-at-the-cadillac-ranch-amarillo-texas-marylee-dereske.html
"Little Hands" Š Cindy Ackley Nunn "Parrot Expressions" Š MT Bobbins. http://fineartamerica.com/featured/parrotexpressions-mtbobbins-photography.html
A world without color is an impossible conception. It would be a world of mental darkness, of frustration, and no other gifts of civilization could, in any wise, compensate us for the loss of chromatic values. We should go mad in a colorless world. ANONYMOUS, The Chemist, vol. 20
Wakulla Springs River Boat Trip Article & photos © Carla Parris
The river boat tour at Edward Ball Wakulla Springs State Park, near Tallahassee, Florida, is one of North Florida’s most popular tourist activities, and one of my favorite things to do with out of town guests. The relaxing hour-long, three-mile round trip on the beautiful Wakulla River affords outstanding bird watching and wildlife viewing opportunities where a wide variety of birds, along with turtles, manatees, and alligators, can be seen, at close range, in their natural habitat. Each trip is unique, with sights depending on the time of day, the season of the year, and the whims of the animals, but it is always altogether enjoyable, and photo opportunities always abound.
The boats used for the “jungle” river tour are refurbished boats, now with electric motors, which have been used on the river for years. Because the wildlife has become acclimated to their presence, they are ideally suited to affording visitors close-up views of animals in their natural habitat.
The river trip begins near the Wakulla Springs Lodge which, along with the nearly 6,000 acre park and river, is listed on the National Register of Historic Places and is designated as a National Natural Landmark. Nestled among American Beech, Southern Magnolia, Swamp Chestnut Oak, and Pignut Hickory trees, with a scenic view over the Wakulla River, the historic two-story hotel was built in 1937 by financier Edward Ball in a Mediterranean Revival/Art Deco style which was popular during the 1920s and 30s. Architectural features of the Lodge include massive masonry, intricate wrought iron grill work, and extensive use of heart cypress wood and marble, including the largest known marble bar, measuring over seventy feet. Appropriately, given the Lodge’s peaceful and serene idyllic natural setting, its decorative art work depicts local wildlife scenes. The lobby has a glass case housing a stuffed eleven-foot alligator, affectionately known as “Old Joe,” who once inhabited the river.
The lobby’s ceiling, with paintings of local wildlife scenes, reflects elements of European folk art, intricate Arabic scroll work, and Native American influences.
The boat first heads downstream, initially along one bank of the river, and then into an expansive open stretch, with interesting views at every turn. There are old-growth hardwood forests on the river banks, a section with maintained Longleaf Pines, and majestic Bald Cypress trees with unusual woody projections from their root systems, called cypress knees, where it is not unusual to see wildlife perched, such as an anhinga drying its wings in the sun.
Anhingas, also known as “snakebirds,” “darters,” or “water turkeys,” are cormorant-like water birds which swim on the surface of the water, diving to catch their food, or swim with their body submerged and their head and neck stretched out, often resembling a snake gliding through the water. They spear their prey with their bill, sometimes then flipping it up and swallowing it head first.
Anhingas are dark greenish black, with beautiful silvery markings on their wings. When anhingas are in their breeding plumage, they have a blue ring around their eyes, and the males have pale head plumes and a dark mane. Females are distinguishable by their tan-colored head and neck.
Anhingas have poorly developed oil glands and their feathers aren't totally waterproof. While this makes them efficient divers, it also requires them to perch in the sun with their wings spread open to dry their feathers.
This birdwatcher’s paradise frequently affords sightings of elegant white egrets, colorful wood ducks, ibis, blue herons, common moorhens, and even vultures.
On a sunny day, there might be a gathering of turtles assembled on a fallen tree trunk.
There are alligators galore which inhabit the river, and they can almost always be seen during the boat ride, whether on the banks of the river, or in the water, or lurking among bulrushes which are said to be similar to those growing in the Nile River in Egypt.
The American alligator is the largest reptile in North America, typically measuring over ten feet in length during adulthood. It has a broad head, a large body, thick limbs, and a powerful tail which accounts for half its length. Alligators are able both to walk on land, and to swim by moving their muscular tail from side to side. While they can move very quickly in water, they are generally slower on land, although they can move fairly quickly over a short distance.
Alligators hunt primarily at dusk or during the night. They have tremendously powerful jaws and teeth designed for crushing and gripping prey, which is typically swallowed whole or, when too large, is stashed underwater until rotted and soft enough for eating. Alligators have upwardoriented nostrils at the end of a long snout, which permits them to breathe while their body is under water, and a flap in their throat, which allows them to capture prey underwater without water entering their breathing passages. Because they are cold blooded, during the day alligators are frequently seen sunning themselves on logs or on the banks of rivers or lakes.
During the cooler months, manatees may also be sighted.
Manatees, sometimes known as “sea cows,� are large aquatic marine mammals. These herbivorous, slow-moving, gentle giants use their front flippers and powerful flat tail to maneuver through the water. Manatees generally stay submerged just beneath the surface of the water, or perhaps resting on the bottom, between times of coming to the surface to breathe. They have thick, grayish-brown skin, wrinkled head and face, small eyes, and whiskers on their snout. Manatees are migratory, and during the cold months, gravitate to freshwater springs which have a near constant temperature of approximately seventy degrees. These West Indian Manatees were photographed at Wakulla Springs during the winter. The family group was swimming in the spring basin near the lodge’s swimming area. The baby manatee was spotted downstream where, to the delight of us all, he approached the river boat on which we were enjoying a scenic trip.
The boat then circles around, skirting the bank on the far side of the river, before entering a dark, overgrown, mysterious part of the river where several movies have been filmed. This was the setting for the first Tarzan movie, featuring Johnny Weissmuller, with the famous “Tarzan tree”; the haunting habitat of the Creature from the Black Lagoon, in the classic movie; and the watery trap of a partially submerged large airliner in Airport '77.
The final part of the trip passes the lodge and circles around the pool at the mouth of the spring, passing over a limestone ledge which drops off to the floor of the spring vent approximately185 feet below. Wakulla Spring is one of the largest springs in the world, discharging a staggering 260 million gallons of water per day. It has the longest underwater cave system in the United States, three and a half miles of length (from the opening) of which have been explored to date by deep cave divers. The mapping of over 31 miles of this extensive network of caves by exploration and surveying is particularly impressive because the caves descend from the spring basin to a depth of between 280 and 300 feet deep. In addition to the narrated river boat trip, Wakulla Springs offers glass bottom boat tours when the water is sufficiently clear. This is the best way to see the spring area, where mastodon remains have been recovered, and which may afford a view of “Henry, the Pole-Vaulting Fish” who features prominently on the park’s early advertising. This attraction involves the boat driver calling a fish to a pole resting on the river floor where it pauses on its side before darting over the pole. I have witnessed this phenomenon twice, with a fish named Henry Junior, who, on the guide’s command, swam into view, positioned himself near the pole, and then certainly did appear to vault over the pole!
Wakulla Springs is the origin of the Wakulla River, which flows 9 miles to the southeast before joining the St. Mark's River, which flows 5 miles further to Apalachee Bay, where it empties into the Gulf of Mexico. The name Wakulla is a corruption of the Spanish word Guacara, a phonetic spelling of the original Indian name. Wakulla is the Muskogee pronunciation of Guacara. The Seminole, whose language also comes from the Muskogee, pronounced it as Wakala.
Those wishing to extend their visit to the park can enjoy hiking on nature trails, swimming (in cold spring-fed waters) and diving off the two-story tower, or picnicking on the grounds or dining in the lodge’s dining room or snack bar. For a more lengthy stay, visitors can experience a bit of Florida’s elegant past while staying in the lodge’s guest rooms which, with no television or wi-fi, still offer the serene and peaceful retreat in a pristine natural setting envisioned by Edward Ball so many years ago.
The Fine Art of Painting Military Portraits by Carla Parris
Jim Grady is a gifted artist whose diverse body of work encompassing a broad range of subjects in a variety of media includes a series of historical military oil portraits. This specialty began when he was commissioned to do a series of portraits depicting significant political and military figures in the history of the Smyth family of Texas. The first painting commissioned by the family was a reproduction of a historical portrait of George W. Smyth, who was one of the signers of the Texas Declaration of Independence. The family was delighted with Jim’s reproduction of the original painting which hangs in the Congressional Library in Austin, Texas, and a series of further commissions, all of Smyth family historical military figures, soon followed. Military portraits present the artist with the goal common to all portraits of depicting the likeness and conveying the essence of the person who is the subject of the painting. However, because of the need for historical accuracy and meticulous attention to detail in technical military matters, these portraits present additional unique challenges. The artist’s challenges are often compounded in the case of historical subjects, when the artist is likely to be working from limited reference materials. The only source for the likeness of the subject may be a small, black and white, poor quality photograph which may not even represent the subject at the appropriate age. Significant research is often required, particularly on details pertinent to the historical context of the figure, such as the flags in the series of Smyth portraits; the style of portraits from the era of the subject, which in this series was sometimes as early as the War of 1812; and of course the important matters of uniforms, buttons, badges, bars, epaulets, guns, swords, and other accessories which may be included in a portrait. Jim quickly found that he enjoyed not only the military subject matter itself, but also the technical and creative aspects of this genre of portraiture. He has graciously provided not only the images of the final portraits, but also photographs and images which offer an insightful behind-the-scenes view of the artist’s work and processes.
Original George W. Smyth
George W. Smyth painted portrait.
Live model for the Andrew Farney Smyth portrait.
Portrait of Andrew Farney Smyth Andrew Farney Smyth was a captain during the War of 1812. The client furnished the subject’s uniform and the gun which appears on the left side of the painting. The artist fashioned an epaulet from materials from a local craft store, and that was added to the uniform worn by the live model who posed for the artist. The client also furnished a sword which the artist modified, based on a photograph of a period sword, by adding an eagle head and by masking and painting the handle to simulate a bone carved handle. The artist’s only reference for the approximate likeness of the subject was a small, poor quality, black and white image furnished by the client. The composition of the painting, and the positioning of the seated subject, were developed by the artist after researching period portraits. The artist fashioned an 1812 flag model by painting a pillow case, and staged it for inclusion in the composition of the portrait.
Epaulet fashioned from local craft store materials.
Portrait of George W. Smyth, Jr. George W. Smyth, Jr. was a young man when he served in the 27th Texas Calvary Regiment, but the artist’s sole reference photograph of him, taken from a stock certificate, was of him as a much older man. The artist employed reference photographs of younger men and a live model to help him achieve an age-appropriate likeness of the subject. He consulted Civil War era portraits and photographs to assist in the composition of the portrait and the positioning of the subject, and in order to create a painting reflective of the style of the period. He researched the design of the flag which hangs behind the seated figure of the subject, and other details like the binoculars from that era. A live model was employed for assistance in painting the subject’s hands.
Stock certificate photo of a much older George W. Smyth, Jr. Model's hand.
Model's hand with sword.
Portrait of Joseph Smyth Joseph Smyth also served in the Confederate States Army. The artist’s reference for his likeness was a very poor quality black and white photograph scanned from a newspaper clipping. The composition of the portrait was developed with reference to a photograph furnished by the client showing the desired pose and clothing. To add the flag, the artist first painted a model and then staged it with lighting, manipulating the folds and appearance as desired. He then used a photo editing program to make a digital composite of these elements to serve as a guide for the painting. After doing an initial pencil drawing of the basic design, the artist employed a live model for the positioning of the hat, sword, buckle, and hands. He then further developed the drawing, incorporating these elements and transferring his sketch of the model’s hands. The painting process began with a toning wash of the panel. This was followed by successive stages of painting and refinement.
Composite
Portrait of Andrew Smyth Andrew Smyth was a captain in the 13th Texas Mounted Volunteers during the Civil War. The artist based his portrait on a single photograph, furnished by the client, taken from a book of the subject’s life as a steamboat captain. The subject’s pose was based on a reference photograph. The artist included an image of the Texas flag in the portrait. He used a photo editing program to produce a digital composite which served as the basis for the painting.
Steamboat captain photo of Andrew Smyth from book.
Modeling the hat.
Image used as model for pose.
Original photo of Captain H. Smyth
Portrait of Captain H. Smith Captain H. Smith served in the U.S. Army during World War I. The reference photo furnished by the client, which served as the basis for the portrait, was taken while the subject was in Germany during the war. The artist also consulted numerous photographs showing important details of the uniform not clearly perceptible in the main photograph. He used a photo editing program to create a digital composite which included the flag which appears behind the seated subject.
Composite
Intricate details.
Original photo of William Smyth
Composite
Portrait of William Smyth William Smith was a Second Lieutenant in the United States Air Force. His portrait was based on a 1953 black and white photograph furnished by the client. The artist used this, additional reference photographs of details of uniform elements, and a photograph of a flag to prepare a digital composite reference image from which he worked.
These military portraits by Jim Grady are not only lovely works of art, but they have commemorative value, as well. They preserve cherished ancestral information for the Smyth family, and also serve the larger purpose of documenting and memorializing important military history.
More of versatile artist Jim Grady’s diverse portfolio can be seen at www.jimgradyart.com, where there are galleries of florals, landscapes, portraits, animals, sports action figures, and murals. The artist’s paintings and pastels are displayed in galleries and private collections throughout the United States and abroad. His murals can be seen in residential, medical, and business environments. Prints of selected works are available at www.jim-grady.artistwebsites.com . To discuss commissions or murals, the artist can be reached at (817) 938-1962.
A reconstruction of the Presidio by artist Russell A. Ruiz.
The Last Spanish Colonial Presidio of North America by Armand Sierras, photos by Armand Sierras
The Spanish colonial era of California often leads to misunderstandings and confusion. For the most part, the "Spanish colonists" were mestizos, mulattos and various combinations of mixes. For example, of the pobladores (settlers) of the pueblo Los Angeles, only ONE was actually a Spanish born Spaniard. His name was Fernando Valasco y Lara. Another misconception is that they were "useless". That came about because three settlers took their families and left Los Angeles. One of these, Quintero, had two daughters who's husbands were soldados at Santa Barbara. When he enlisted to settle Los Angeles, there was no way for him to know The Presidio, early 1900's. that the presidio Santa Barbara they were to support, was about 100 miles up the coast. Also, as a tailor by trade, his craft was "useless to himself or others" as they were farmer/ranchers that settled LA. So was the
reasons for one settler to leave, 1. to be closer to his family, 2. a tailor is more useful to a soldier than a farmer. One other settler was a minero (miner) who had worked the mines of Sonora. Antonio Mesa wanted out of Alta California, perhaps to return to the mines of Sonora. The last but not least was Fernando Valasco Lara. Fernando also put in a request to transfer to Santa Barbara as a tailor. He had used the name Valasco until he came to Alta California. He had married and left his wife as they were not compatible. When he came to Alta Ca he was married to María Antonia Campos and went by the name Lara. In a letter to Father Serra, he explained that he had heard that his wife had died but come to find out later, it was his wife’s sister who had died and thus was how he was married to two different women at once. He was taken to Mexico for arbitration and never returned. His family, however, stayed in Santa Barbara, including his young daughter, María Juana de Jesus Lara. In January 1782, with the pueblo Los Angeles founded in September of the prior year, a ceremony was held to found the Spanish presidio "Real Presidio de Santa Barbara". For two years the presidio was just palisades. Then in 1784, the presidio commandante was relieved by Lt. Felipe Antonio Goicoechea. Many of these early soldiers actually did not want California duty. It was a remote unknown wilderness at the edges of the Spanish Empire's furthest reaches. Goicoechea was one who was not too pleased but loyally preceded to his duties. He drew plans for a new presidio and submitted them to the governor Borica who approved them. Goicoechea was born to Juan Goicoechea and María Aragón in Cosolá, Sinaloa but was raised in Álamos, Son. At age 35 he entered the Spanish academy. The living quarters of Lt. Felipe Antonio Goicoechea.
Domingo was a Native American that signed up at the mission Buena Ventura. He had defected and was causing a ruckus. Goicoechea sent a group of men out to find and bring him back to face charges against him. Led by Sgt. Olivera, the group began tracking him down. Having been in the mining business prior, Goicoechea told Olivera to sort of prod around and see if there might be some good mining location prospects in the area. Olivera divided his group to prospect some, to look for Domingo while two remained at camp to tend livestock and guard gear. When they returned they found two dead soldados de cuera, one of them the young husband of the pre-mentioned María Juana de Jesus Lara, Hilario Carlón.
The living quarters of Lt. Felipe Antonio Goicoechea.
María was 15 at the time and it would appear that perhaps the 43 year old commandante's sympathy towards her turned to more than professional for mission records show he fathered a son with her. He wasted no time, being forbidden to marry as an officer without consent, and out of his "class",(Goicoechea was a "Criollo" of basque decent, Criollo is Americas born Spaniard , and María Juana a "mestiza", her father being a Spaniard,{Lara}, and her mother was listed as "India"), to arrange a marriage with a soldado de cuera named Felipe Cortéz. Jose Antonio Zeferino was first listed as José Antonio Goicoechea in mission records. He used, however, his stepfather's name Cortéz until he went to get married when he was told the truth. After he married and for the rest of his life he went by Carlón. The presidio in Santa Barbara was to be the last of the military outposts built in North America. It was used also by the Mexican army and served until it fell to the United States Army in 1846. Goicoechea was relieved as commandante and paymaster of Santa Barbara in 1806. The viceroy appointed him governor of Baja California Sur, a position he held until his death in 1814 at Loreto, BC, Mexico. José Antonio Zeferino Carlón was the grantee of some 4,437 acres, today it is Arroyo Grande, California. Zeferino deeded his grant to his son-in-law for a debt owed under the condition that he be able to live there til his death, which he did. Goicoechea's descendants live on today. They are all around you in California and elsewhere.
The Presidio actually had fresh running water supplied through an aqueduct system. Not only did this provide water for the making of adobe bricks, but also flowed from a fountain, allowing residents to have fresh water.
Even running at only 25 percent of capacity this aqueduct system could pump through more than 36,000 gallons of water in a 24 hour period!
Archaeological excavations reveal original defense wall foundation.
Pottery shard from excavations.
Tile floors were costly and time consuming to build so were generally found in the living quarters or offices of those of a higher status. The floor above shows evidence of post holes, as well as a banco (pedestal), which would have been used to elevate a small cupboard or chest for easier access.
Pickup truck, 1700's style!
The kitchen
The horno, or beehive oven.
Representation of typical women's attire during the Presidio period.
Sources: Felipe de Goicoechea Santa Barbara Comandante, 1993, by Jarrell Jackman Los Angeles Under the Spanish Flag, Spain's New World, 2004, by William Mason Spanish/Mexican Families of Early California, 1976, by Marie Northrop Santa Barbara Trust for Historic Preservation
Armand Sierras is a proud descendant of the families in this article.
Typical soldado garden.
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