The fear and promise of the unknown were a driving force in the era of expansion in the United States. As pioneers looked West, they plunged ahead to face a new world of both difficulty and beauty. This journey is commemorated in the many artworks included in this year’s Great American West Show.
Jessica L. Bryant, A Break in the Storm, watercolor, 14¼ x 25¼ in.
Settlers West Galleries celebrates its 55th year in business with its largest annual exhibition opening Saturday, November 21, with a preview beginning at 10 a.m. Later that evening, collectors can attend the opening reception from 5:30 to 7 p.m. The works are sold by fixed-price draw.
The exhibition features more than 90 new works by 50 gallery artists. Robert Peters has shown with the gallery since the 1990s and brings two landscape works honoring the Southwest, including his painting, Goldfield Mountains.“I aimed to portray the ruggedness of the range that contrasts with the vibrant, delicate beauty of the Sonoran Desert spring,” Peters says. “Having spent much of my life in the Sonoran Desert, I have visited these mountains at every season and have always been inspired by the wealth of subject matter.”
D. Edward Kucera, The Taunting, oil, 30 x 40 in.
Watercolor artist Jessica L. Bryant always felt a deep curiosity about the land that shines through in every tiny aspect of her landscapes. For her piece A Break in the Storm, Bryant was hiking in Grand Teton National Park along the Snake River searching for inspiration after a tragic family loss. “Suddenly, the sun broke through and the rain paused. The most incredible light made the golden leaves glow against the sky and water,” she says. “The painting was my first since losing my dad just two weeks before, and so much about the energy and emotion here echoes the experience of being at his side for his final days as he passed on.”
Bryant thrives on the demanding medium of watercolor and feels the challenge allows deep focus for each painting. “It has gorgeous luminosity and offers unique handling effects,” she says. “The light reflects not off the surface of the paint, but off the surface of the paper. Any white areas are preserved paper, not paint, so planning is essential.”
Jonathan Noon, Every Human Heart, charcoal, 27 x 48 in.
While the unforgiving yet bountiful landscape has provoked many artists, historical narratives also shine beside them to complete the story of the West.
In an homage to Native American culture, artist John Fawcett brings Below the Falls, showing two riders guiding their horses beneath a powerful waterfall. “For many Native peoples, water carries deep spiritual significance, representing life and connection to the natural world,” he says. “In this painting, the riders move quietly through the water, suggesting respect and harmony, while the immense falls evoke a timeless, sacred presence.”
D. Edward Kucera brings a provocative piece titled The Taunting, which shows a lone warrior attempting to draw the enemy into his tribe’s waiting attack. “I got the inspiration from visiting Fort Phil Kearny near Buffalo, Wyoming. The grass up there has shades of crimson, which was helpful in connecting the warrior’s jacket to the foreground,” Kucera says.
John Fawcett, Return of Roman Nose, 18 x 24 in.
Focusing on figure work, the artist likes to draw on the candid moments where his models allow pretense to drop away. “When I do portraits, I like to catch them when they think they aren’t being watched,” he says. “To me that is when their face tells their story, especially when working with someone who has never posed before.”
Another figure painter, Jonathan Noon, brings a charcoal portrait titled Every Human Heart,exploring light and shadow in striking contrast. “The inspiration was the idea that every human being, despite time and place, would have some condition or orientation that is universal,” he says. “The pose is a universal pose aimed at the transcendent.”
Robert Peters, Goldfield Mountains, oil, 20 x 16 in.
Normally an oil painter, Noon says he is hoping to produce more drawings going forward and feels the medium lends itself well in connecting the human experience across both historical and cultural changes over time. “I am fascinated by the pioneer-era of the United States’ history,” he says. “I love stories about the grit, determination and adventurism that was required to settle the interior West. I hope people can see those things in the model’s eyes.”
John Fawcett, Below the Falls, oil, 30 x 24 in.
The show hangs through December 19. The camaraderie between artists and Settlers West is apparent as many artists cite the event as one they look forward to every year.
“I love seeing the work, it’s always a strong show,” Bryant says. “I look forward to seeing other artists, the collectors and the gallery staff. It’s such a beautiful space, and they do a wonderful job.” —
Mark Kelso, Patrolling the Madison, oil, 20 x 40 in.
Settlers West Galleries 6420 N. Campbell Avenue » Tucson, AZ 85718 » (520) 299-2607 » www.settlerswest.com
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