1926
Oil on canvas
25 x 24 in.
"The Full Moon Rises by F. Tenney Johnson," Boston Herald, February 10, 1929, illustrated.
Harold McCracken, The Frank Tenney Johnson Book: A Master Painter of The Old West, New York, 1974, p. 162, illustrated.
We wish to thank Melissa Webster Speidel for her kind assistance in cataloging the lot. This artwork is included in the catalogue raisonné database Melissa Webster Speidel is compiling of the artist's oil paintings.
Frank Tenney Johnson was born and raised in Iowa on a prairie farm alongside the historic Overland Trail. Watching the stagecoaches pass by sparked his imagination and fueled his fascination with the West. 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.
A Full Moon Rises showcases Johnson's ability to relay a Western narrative of romance, vast spaces, individuality, isolation, and natural beauty. In a warm twilight atmosphere, a lone Navajo woman sits on a rocky outcrop gazing away from the viewer toward the setting sun. She wears a long-sleeved shirt or dress in rich burgundy colors matching her surrounding landscape and is wrapped in a Navajo-patterned weaving from the waist down. In the middle distance, the figure's pack-burro grazes. Silence and introspection are palpable in the scene. Viewers are invited to identify with the woman's perspective and share this awe-inspiring, ephemeral moment.
A Boston Herald caption touting a 1929 Milch Galleries, New York exhibition, identified The Full Moon Rises as "One of a group of paintings by the artist who has been called 'The Modern Frederic Remington'". 1 The Remington reference certainly reflects the strength of this composition and in general Johnson's work from this mature period. Johnson returned to a similar motif to The Full Moon Rises in other paintings including A Madonna of the Desert. His description of the Madonna figure is similar to the present work's compositional elements: "The woman is the shepherdess and travels hundreds of miles over the desert with her sheep, with a pack-burro to carry he meagre supplies, and she makes camp whereever [sic] night may overtake her." 2 He also wrote "Twilight and a new moon...out in the vast desert, far from any habitation, a young Navajo Indian woman...looks with wondering eyes into the coming night. Soon she will take her supplies from the burro at her side and prepare her evening meal, and for the night." 3
Photography was generally an important part of Johnson's artistic process — over 6,000 of his prints and negatives are known — but 'in the nocturnes that Frank painted, particularly the scenes around desert trading posts in the Southwest, where taking photographs was out of the question, memory alone had to be depended on.' 4 For A Madonna of the Desert, Johnson recounted his visit to the Little Colorado Trading Post at Cameron, Arizona in the Navajo Nation. This trip made a lasting impression on him and may have also inspired the present work.
Johnson was a master of cinematic framing. The present work was created in the same year as four important commissioned works for the grand opening of the Carthay Circle Theater in Los Angeles. This Spanish Revival theater was a jewel of the Art Deco style, built at a cost of over $1 million dollars with decor that celebrated California's founding history. Johnson created a painting for the lobby depicting the first movie theatre in California in 1849, two monumental organ chamber covers for the stage, and a heroic main drop curtain of the Donner Party crossing the Emigrant Gap. The main curtain is significant for his high visibility — it is the closed curtain seen by the audience before the show begins, again at intermission, and after the show ends. The theatre was originally conceived for silent films and live performance, but the advent of sound films made it legendary. Attendance soared, and consequently, Johnson's reputation as an artist.
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