circa late 1920s
Oil on canvas
Private collection, Rancho Mirage, California.
Born and raised in Iowa on a prairie farm situated alongside the historic Overland Trail, Frank Tenney Johnson had an early fascination with the West as he grew up watching stagecoaches pass his home. His interest in art coalesced at the age of fourteen when his family moved to Milwaukee, Wisconsin. In a big city for the first time, he was inspired by visits to the Layton Art Gallery, Milwaukee's first public art museum, and resolved to become an artist. He apprenticed under two German expatriate artists, one of whom stoked his interest in Western subjects. At the age of twenty-one, Johnson traveled to New York City and trained at the Art Students League under John Henry Twachtman (1853-1902). He pursued additional training under the National Academicians Robert Henri (1865-1929) and William Merritt Chase (1849-1910) and sought work as a commercial illustrator to make ends meet. In 1903, he landed a major commission with Field & Stream magazine that enabled him to travel extensively through the West. On this defining trip, Johnson visited cattle ranches in Colorado and Indian pueblos in the Southwest, experiencing the culture and practices of his subjects first-hand.
In paintings like Close of Day, the defining artistic Western narrative that Johnson honed at the height of his career evokes romance, vast spaces, individuality, isolation, and the natural beauty of the indigenous peoples and their environs. Bathed in warm distant late day sunlight and foreground shadow, Close of Day features a central Navajo couple astride their horses paused in silence and introspection. The figures, silhouetted against white cumulus closes, gaze left and right into the distance. The group stands in an elevated rocky chaparral landscape, often featured in the artist's Southwestern work.
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