On the Trail of Frank Reaugh:
The Pastel Journals of Jeri Salter On View April 3 - May 2, 2015
WILLIAM REAVES FINE ART
TEXAS ART
EARLY
MODERN
CONTEMPORARY
Frank Reaugh is sacrosanct among those of us who revere Texas art. In addition to his place as the “Old Master”
of Lone Star Art, Reaugh was responsible for the development of a subsequent generation of Texas painters, his list of students and protégées reading like a star-studded roll of Texas talent. Reaugh’s art commands renewed acclaim later this year (and next) as the subject of highly anticipated books (UT Press, UNT Press), an exhibition (UT’s Harry Ransom Center) and a documentary film (Marla Fields). With all of this activity, “Mr. Reaugh” seems to finally be getting his “day”, the spotlight of academic examination long overdue and well deserved for such a veritable giant among Texas painters. To fully garner the lasting import of Frank Reaugh, however, one must go beyond his treatment as a mere object of history, to consider his continuing influence on Texas art and artists today. To this end, we offer a compelling statement on his present-day effect in an exhibition entitled On the Trail of Frank Reaugh. In it, Round Rock artist, Jeri Salter, offers a moving artistic tribute to the enduring legacy of the great artist.
As a regionalist painter, and one of the state’s foremost pastel artists, Jeri Salter was keenly aware of Frank Reaugh’s
work, appreciating his personal mastery of their chosen medium and inspired by his like-minded devotion to record the Texas countryside in pastel. In 2014, under the tutelage of Michael Grauer and Robert Reitz, she embarked on a modern-day odyssey to trace the tracks of Reaugh’s rambling sketch trips West of Dallas. One year, and 30 pastels later, Salter presents a stunning tribute to Reaugh in a noteworthy one-woman show. Through her own pastel journals, Salter revisits many of the sites documented by Reaugh in his frequent forays to the West Texas range during the late 19th and early 20th centuries, rendering contemporary views of familiar Reaugh subject matter with twenty-first century perspective and in a style all her own. Complimenting Salter’s present-day interpretations of the old Reaugh stops, art historian Michael Grauer of The Panhandle-Plains Historical Museum has curated photographic images of Reaugh studies these same locales.
Salter’s exqusite pastels clearly convey the bond of influence that artists are privileged to share among each other
over spans of time and generation, showing the painterly connections and spiritual kinships which are translated over years through the reflective qualities of art works created and left behind. In this sense, an homage to one Texas painter, actually celebrates and affirms two Texas painters, one past and one present. Without attempting to paint like Frank Reaugh, Jeri Salter is unabashedly inspired by Frank Reaugh’s work and subject. Remaining true to her
own hand in her own time, Salter’s work reflects the confident, accomplished application of the pastel medium which Reaugh demonstrated to perfection in his own lifetime. Her preference for regional subject matter speaks to both artists’ mutual regard and appreciation of the Texas panorama. In making her own personal sketch trips across the Texas back country, Salter honors and extends Reaugh’s passion for Texas roads less traveled, even while traveling these same paths scores of years apart. In all of this, Salter finds pleasure and inspiration as a Texas painter, and in all of this we believe that Mr. Reaugh would take great pleasure as well. Likewise, in their mutual regard for place and pleasures, we find proof positive that Reaugh’s influence transcends the static footnotes of Texas art history, and that his vision and passion for Texas remains alive and kicking in the Texas artists of today.
Reaugh devotees will revel in this exhibition, and will no doubt be even more grateful to learn that portions of the
proceeds from sales therein will go to support the completion of the Marla Fields film documentary Pastel Poet of the Texas Plains, further advancing the story of the life and work of Frank Reaugh. -William Reaves, Sarah Foltz & Mary Margaret Kinnan William Reaves Fine Art, LLC
EXHIBITION CHECKLIST Artist Title and Year Medium Size (in.) 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32
Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter Jeri Salter
Afternoon in Caprock, 2015 Afternoon Siesta, 2014 Angus Herd at Sunset, 2014 Black Mountain and Gold Grasses, 2014 Brazos Sunrise at Village Bend, 2014 Canyon Clouds, 2015 Cliffs Along the Rio Grande, 2015 Cloud Trails over Big Bend, 2014 Colors of Palo Duro, 2015 Comanche Peak in the Distance, 2014 Dancing Light Across Tule Canyon, 2015 Distant Trails, 2015 Glimpse of the Canyon, 2015 Golden Fields of Cows, 2014 Huddled Against the Cold, 2015 Lavender Sky, 2015 Light Skipping Across the Cliffs, 2015 Longhorns in Matador, 2014 On the Search for Double Mountain, 2015 Palo Duro Overlook, 2015 Ranch at Kyle Mountain, 2014 Red Cliffs in Tule Canyon, 2015 Santa Anna Peaks, 2015 Shadow Play in Tule Canyon, 2015 Storm Clouds over Palo Duro, 2015 Storm Sweeping the Mountains, 2014 The Speckled One, 2015 Thistle View of Comanche Peak, 2014 Traveling Towards Sunset, 2014 Windmill Against an Evening Sky, 2014 Winter Cows, 2015 Coming into Buffalo Gap, 2015
pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on Panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel pastel on panel
5x11 9x16 15x30 15x28 18x29.5 12x24 9x12 15x28 12x24 9x18 22x40 8x16 5x12 12x24 20x40 5x11 9x12 15x30 20x40 5x12 16x30 7x12 12x24 20x24 5x12 8x16 20x24 15x29.5 9x18 10x20 5x12 5x11
JERI SALTER (b. 1955) Originally from Richmond, Virginia, Jeri Salter has lived all over Texas– Houston, McAllen, Plano, Lago Vista, and currently, Round Rock. A selftaught artist, Salter honed her skills over the years through various classes and workshops, focusing her talent on pastel landscapes. Her paintings often parallel images from early Texas artist Frank Reaugh as she derives her inspiration from the vast beauty in nature, highlighting the open skies and rolling plains of the Texas landscape. Most recently, she has found similar beauty in rural buildings and roadways. Salter describes her landscapes as having remnants of humanity, captured in the scenes that feature derelict buildings and worn dirt roads. In painting these ordinary scenes, she tries to convey an appreciation of the natural beauty and the emotional sense of “searching” evoked therein. Selected Biographical and Career Highlights • 1955 Born in Richmond, Virginia • 1974 Moved to Texas • 1983–84 Glassell School of Art, Houston • 1994–95 Collin County Community College, Plano • 2002–present Member, Central Texas Pastel Society • 2005–08 President, Central Texas Pastel Society • 2007-present Member, Austin Pastel Society • 2009 Best in Show, Austin Pastel Society Miniature Show, Austin •2009 Best in Show, Central Texas Pastel Society Membership Competition, Cultural Activities Center, Temple •2010 Pastel Second Place, Phippen Museum Western Art Show, Prescott, Arizona • 2010 Mark Chapman Award, Best in Show, Fayetteville Artwalk Competition, Fayetteville, Texas • 2011 Pastel First Place, Phippen Museum Western Art Show, Prescott, Arizona • 2012 Pastel Second Place, Phippen Museum Western Art Show, Prescott, Arizona • 2012 Best in Show, Central Texas Pastel Society Membership Competition, Cultural Activities Center, Temple • 2014 Pastel First Place, Phippen Museum Western Art Show, Prescott, Arizona • Resides in Round Rock, Texas
Selected Exhibitions • 2004–05 Wildflower Art Show, Salado • 2004–05 Art Walk, Georgetown • 2005–06 Austin’s Artist Harvest Facet Show, Austin • 2006 Lady Bird Johnson’s Wildflower Center Holiday Show, Austin • 2007–09 Austin’s Museum of Art’s Laguna Gloria Holiday Show, Austin • 2008–09 Texas Wild Bunch, Professional Artists’ Show, Kerrville • 2010–11 Fort Worth Main St. Festival, Fort Worth • 2010–11 San Antonio Fiesta Show, San Antonio • 2010–11 Bayou City Downtown and Memorial Show, Houston • 2010–11 Cottonwood Art Festival, Richardson • 2010–11 Art City Austin Show, Austin • 2010–11 Dallas Arboretum Artscape Show, Dallas • 2010–12, 2014 Phippen Museum Western Art Show, Prescott, Arizona • 2011 Featured Artist, Fayetteville Artwalk, Fayetteville, Texas • 2012 Restless Heart: Contemporary Texas Regionalism, San Angelo Museum of Fine Arts, San Angelo • 2013 Holidays at the Haley, Haley Memorial Library, Midland • 2014 Painting in the Texas Tradition: Contemporary Texas Regionalism, Turner House, Dallas • 2015 Painting in the Texas Tradition: Contemporary Texas Regionalism, Pearl Fincher Museum of Fine Arts, Spring • 2015 Ties that Bind: Contemporary Texas Regionalism, Turner House, Dallas Selected Public Collections • BNSF Railroad Collection • Icon Bank, Galleria, Houston • Icon Bank, Sugarland • San Angelo Museum of Fine Arts, San Angelo
On the Trail of Frank Reaugh:
The Pastel Journals of Jeri Salter
1
Jeri Salter
Afternoon in Caprock, 2015
pastel on panel
5x11
“Even though I have been to Caprock only a few times, it has become one of my favorite places in Texas. I’ve been there when it has been rainy and sunny, and found wonderful scenes each time. This was painted plein air at one of the main viewing sites. Every direction holds something wonderful. There is so much to look at and at times trying to decide what to paint can be daunting, but this time, I took a cue from Mr. Reaugh, and chose distant cliffs that could be simplified.” (Caprock State Park)
2
Jeri Salter
Afternoon Siesta, 2014
pastel on panel
9x16
“On the drive to the Palo Pinto area, I stopped for a group of Angus cows enjoying the shade and an early afternoon nap.� (Hwy. 4 just past Santo going North)
3
Jeri Salter
Angus Herd at Sunset, 2014
pastel on panel
15x30
“I spent the entire day exploring, photographing and painting Tule Canyon. Staying as long as I could, I started to drive back to Silverton to the cabin I rented for the trip, but I saw this scene and had to stop to take just a few more photos. I then got in my car and continued a short distance, but had to stop, again, to paint at least an impression of the sky colors.� (Hwy. 207 near Tule Canyon)
4
Jeri Salter
Black Mountain and Gold Grasses, 2014
pastel on panel
15x28
“While on my drive from Round Rock to Marfa (on a trip to Prescott, AZ), I was getting pretty tired and ready to get to a nice meal with friends, but those beautiful mountains against the gold (and not to mention the majestic clouds) were not to be denied.� (Hwy. 67 between I-10 and Alpine)
5
Jeri Salter
Brazos Sunrise at Village Bend, 2014
pastel on panel
18x29.5
“This is just one leg of the Brazos that can be seen from a friend’s ranch. The ranch sits at the horseshoe shape in the river at village bend. This spot was a long time camp for Native Americans, even before the Spaniards first arrived up the Brazos in the cross timbers region.� (View from mountain top a Village Bend near Palo Pinto)
6
Jeri Salter
Canyon Clouds, 2015
pastel on panel
12x24
“Looking out from the rim of Palo Duro never ceases to disappoint, even the sky puts on a show. Reaugh paid attention to the sky, as well, but then it’s hard not to in such a big expanse.” (Palo Duro)
7
Jeri Salter
Cliffs Along the Rio Grande, 2015
pastel on panel
9x12
“I remember this day painting on a bluff overlooking the Rio Grande, partly because it was a beautiful day, but also for another reason… While I painted, I saw a Mexican cowboy and his dog on the other side rounding up stray cattle. A scene I could almost imagine from a distant past, not unlike something Mr. Reaugh saw many times.” (Big Bend)
8
Jeri Salter
Cloud Trails over Big Bend, 2014
pastel on panel
15x28
“The view just outside of town, at first light, is well worth getting up to see. Those amazing colors don’t last more than a few minutes, but it’s a lovely show. I loved how whimsical the clouds looked that morning.” (Hwy. 170 near Terlingua)
9
Jeri Salter
Colors of Palo Duro, 2015
pastel on panel
12x24
“The canyon was cloudy with brief moments of sunlight breaking through. That kind of soft lighting seems to make the colors sing.� (Palo Duro)
10
Jeri Salter
Comanche Peak in the Distance, 2014
pastel on panel
9x18
“Driving down the highway to Granbury, I saw a mountain in the distance and the closer I got the more interesting it became.� (Hwy. 4, North of Granbury)
11
Jeri Salter
Dancing Light Across Tule Canyon, 2015
pastel on Panel
22x40
“This was the one specific place above all the others that I had wanted to paint. Reaugh’s painting ‘The Cliffs of Tule’ made quite an impression on me. My version and Reaugh’s may seem like totally different structures, but they are in fact the same. Different points of view, time of day, weather, lighting, and of course, artistic personalities can make huge differences in interpretation and perspective. Tule Canyon has changed since Reaugh’s time but in many ways remains the same. There is now a dam above Tule Creek and a bridge and paved road slicing through the canyon, but the beauty and awe inspiring mesas remain to those who search the back roads to find them.” (Tule Canyon)
12
Jeri Salter
Distant Trails, 2015
pastel on panel
8x16
“On the way to Caprock State Park for the first time, I saw this scene and had to pull over. It was just a taste of things to come, but it put me in mind of many of Reaugh’s chosen subjects.” (Hwy. 86 near Quitaque)
13
Jeri Salter
Glimpse of the Canyon, 2015
pastel on panel
5x12
“As I was on my way to the canyon, I saw this scene and pulled over along the side of the road and painted this from my suv. My Honda was not exactly the same as Reaugh’s cicada, but it worked for me.” (Palo Duro)
14
Jeri Salter
Golden Fields of Cows, 2014
pastel on panel
12x24
“Tule Canyon is an amazing place, but I was also taken with the plains surrounding it.� (Hwy. 207 near Tule Canyon)
15
Jeri Salter
Huddled Against the Cold, 2015
pastel on panel
20x40
“I went back several times during my last trip to Canyon to paint or photograph these cows...especially in the morning and evening. Each morning I drove past them, they were all huddled up together. In my mind it seemed that they were trying to stay warm (since each day started out in the 30s). It did indeed remind me of Reaugh’s longhorns strung out over the plains. A different formation but still the grouping seemed to take on a life of its own.” (On the road between Canyon and Palo Duro)
16
Jeri Salter
Lavender Sky, 2015
pastel on panel
5x11
“I was leaving to go back to my cabin in Silverton after a day of painting in Tule Canyon, but didn’t get very far. I just had to stop to capture the sky at sunset. I did this out of the back of my SUV. It was not the “cicada” of Mr. Reaugh’s time…and I can see there are some good points to that, but definitely some disadvantages, as well. I think he had a better chance of fully appreciating and painting all he saw when the rate of speed was much slower.” (Hwy. 207 near Tule Canyon)
17
Jeri Salter
Light Skipping Across the Cliffs, 2015
pastel on panel
9x12
“Big Bend has become one of my favorite places over the last few years. I love how the light and shadows can change rock formations from ordinary to amazing, sometimes in a matter of minutes. Luckily for me on this day, the light was steady long enough to get a good handle on the scene.� (Big Bend)
18
Jeri Salter
Longhorns in Matador, 2014
pastel on panel
15x30
“I stopped along a side street to take photos of some longhorns and was visited by the nephew of the owner. He was a practical young man who didn’t see much point in keeping these “remnants of the past”, but said that his uncle must have his reasons. Maybe the uncle was just nostalgic. Whatever his reasons, I was glad he did because I certainly enjoyed seeing them.” (Hwy. 70 in Matador)
19
Jeri Salter
On the Search for Double Mountain, 2015 pastel on panel
20x40
“For various reasons, finding Double Mountain was harder than it should have been. It turns out most road maps don’t mention the names of mountains, but the maze of dirt roads became like a treasure hunt with interesting surprises all along the way. I don’t think I was looking at it from the same direction as Mr. Reaugh, but I soon found out, even if you are in the same spot, nothing is truly the same as the time before.” (Series of dirt county roads leading to Double Mt. near Aspermount)
20
Jeri Salter
Palo Duro Overlook, 2015
pastel on panel
5x12
“I painted this from the rim overlooking nearly the whole canyon. You could probably get a hundred paintings from that one spot.� (Palo Duro)
21
Jeri Salter
Ranch at Kyle Mountain, 2014
pastel on panel
16x30
“Kyle Mountain was just one of many spots on my list of places Frank Reaugh liked to paint. I was very happy to have found it. It’s not always easy to figure out which mountain is which. I don’t imagine this ranch was there when he was out painting, but I liked the look of it so I was happy to include it.” (Hwy. 4)
22
Jeri Salter
Red Cliffs in Tule Canyon, 2015
pastel on panel
7x12
“I had never heard of Tule Canyon until I started this project, but I am so glad to have learned about it. It’s a wondrous place, though not very big (as far as outsiders are able to see). It is on private property, but can be viewed from Hwy 207 from a very nice pull out. That is where I painted this, in the morning and then another in the afternoon. This was also a favorite spot for Mr. Reaugh, but at that time there was no dam (which can be seen in the background). The dam was unusual in that it didn’t look manmade at first glance.” (Tule Canyon)
23
Jeri Salter
Santa Anna Peaks, 2015
pastel on panel
12x24
“The town of Santa Anna sits next to the peaks and it was not until I was leaving that I saw this view. Sometimes it’s good to get back a bit to really see what you are looking for. I think Reaugh most always liked the long view, too.” (Santa Anna)
24
Jeri Salter
Shadow Play in Tule Canyon, 2015
pastel on panel
20x24
“When I first drove down into Tule Canyon this commanding structure that greeted me. It is very close to the road and looks totally different depending on where you look at it. But but no matter which view you take, it is unique and amazing to behold. The view I chose to portray is not one that Mr. Reaugh usually preferred, but I wanted to try to create that sense of awe when you are standing next to it.� (Tule Canyon)
25
Jeri Salter
Storm Clouds over Palo Duro, 2015
pastel on panel
5x12
“Everywhere you look there is something amazing to paint. This is just a slice of a ridge I painted in Palo Duro one late afternoon. It never did rain but sure looked like it might.� (Palo Duro)
26
Jeri Salter
Storm Sweeping the Mountains, 2014
pastel on panel
8x16
“The first time I visited the Caprock Canyon, it was raining. Even in the rain, it's a wondrous place.� (Entrance to Caprock Canyon)
27
Jeri Salter
The Speckled One, 2015
pastel on panel
20x24
“I loved the light on the horns so I couldn’t resist painting this beauty as a solo. I have never painted longhorns before, but I’m beginning to see why Reaugh loved them so much. They truly are impressive, especially up close.” (Matador)
28
Jeri Salter
Thistle View of Comanche Peak, 2014
pastel on panel
15x29.5
“In September, the thistle were out in full force. They made a very nice foreground for Comanche Peak on a sunny afternoon. I had hoped to view it from the south the next day, since I had stayed in Granbury the night before, but rain and fog cancelled that idea. Still, I don’t think the view could have been any better than what I saw coming into town that first day.” (Hwy. 4, North of Granbury)
29
Jeri Salter
Traveling Towards Sunset, 2014
pastel on panel
9x18
“I didn’t remember at first which road I was on, but finally managed to figure it out; I do remember being tired and very satisfied after a full day of Panhandle Plains Museum and Palo Duro. The skies of the panhandle rarely fail to amaze me.” (Hwy. 217)
30
Jeri Salter
Windmill Against an Evening Sky, 2014
pastel on panel
10x20
“A friend advised me that if I go to the end of a particular road (which I don’t know the name of), I can park my car and walk down the dirt road as far as I’d like and enjoy the view. As it turned out, the evening show was spectacular.” (Somewhere on the Edge of Marfa)
31
Jeri Salter
Winter Cows, 2015
pastel on panel
5x12
“Early mornings were cold on this last trip. The cows were always huddled up trying to stay warm, at least that’s what it seemed to me. It made me think of Reaugh, even though they weren’t longhorns, so I decided to paint them from the side of the road.” (Canyon)
32
Jeri Salter
Coming into Buffalo Gap, 2015
pastel on panel
5x11
“This is part of the mountain range I saw before reaching Buffalo Gap. It was a perfect day with white cotton clouds creating interesting shadows across the mountains. The history of this area is filled with adventure and tragedy. Now instead of vast herds of buffalo roaming all across the plains, cattle graze in fenced fields.� (South of Buffalo Gap on CR. 613)
HOUSTON’S GALLERY FOR HISTORIC TEXAS ART William Reaves Fine Art, established in 2006 in Houston, Texas, is dedicated to the promotion of premier Texas artists of the late nineteenth and twentieth centuries, focusing particularly on historically significant artists active in the state between 1900 and 1975. Now in its ninth year, the gallery showcases many of the state’s most accomplished and recognized talents, all of whom have significant connection to Texas and have evidenced the highest standards of quality in their work, training, and professionalism in the field. Through its dynamic, mission-centered exhibition program centered around the three pillars of the state’s art history—Early, Modern, and Contemporary Texas Art—William Reaves Fine Art attempts to convey the chronological progression and on-going evolutions within the visual arts of the state. The gallery continuously exhibits stunning examples by artists of these disparate stylistic groupings in order to fully depict the wide-ranging styles, subjects, and media that encompass Texas Art. HISTORIC EARLY TEXAS ART William Reaves Fine Art consistently offers a stunning selection of historic Early Texas Art by prominent artists active in the state prior to 1945. These genres include Texas Impressionism, Texas Regionalism, Early Modernism, and others. TEXAS MODERN ART William Reaves Fine Art is the foremost provider of post-war Texas Modern, including mid-century masters of the state and pioneering expressionists working in Texas. While remaining true to regional subject and theme, these artists actively embraced interesting new modes of abstraction, ranging from forms of cubism to expressionism. The gallery places emphasis on the rediscovery and presentation of early and mid-century works by Houston and South Texas artists, especially the Houston Founders group of prominent artists working in Houston from 1945 to 75. CONTEMPORARY TEXAS REGIONALISTS Consistent with the gallery’s historical focus, William Reaves Fine Art represents a dynamic group of contemporary artists, known as the Contemporary Texas Regionalists, who paint a style or subject matter directly inspired by earlier Texas masters. Hailing from parts all across Texas, their works reflect the state’s geographic diversity. While all captures some particular combination of beauty, richness, and determined independence that is uniquely Texan, their subjects range from historical Texas events to panoramic landscapes and from photorealistic urban scenes to native Texas wildlife. The gallery actively shows their works in annual gallery exhibitions as well as traveling exhibitions throughout the state. PROMOTING TEXAS ART In addition to exhibiting historic Texas art and assisting collectors and institutions in building Texas Art collections, the gallery has been instrumental in the formation and support of non-profit entities promoting Texas art and art history, such as the Center for the Advancement and Study of Early Texas Art (CASETA). The gallery also works regularly with regional museums to jointly sponsor and organize exhibitions and symposia including the following: Tyler Museum of Art, Panhandle-Plains Historical Museum, Art Museum of South Texas, Nave Museum, Haley Memorial Library, Houston Public Library, Heritage Society of Houston, and University of Houston, Downtown. In order to promote interest and broaden knowledge of earlier Texas art, the gallery supports gallery talks, community events, scholarly research, and publications related to its subjects, artists, and periods. Recently, The Houston Press named William Reaves Fine Art Houston’s Best Art Gallery for 2013.
William Reaves Fine Art 2143 Westheimer Road Houston, Texas 77098 713.521.7500 www.reavesart.com