Frank Tenney Johnson was first exposed to the painting of Western subjects by his studies with horse painter F.W. Heine and western artist George Lorenz, who "encouraged Johnson to record the disappearing frontier." (R. Saunders, The C.R. Smith Collection of Western American Art, Austin, Texas, 1988, p. 142) This encouragement, coupled with later studies at the Art Students League in New York, where he made acquaintance with Robert Henri, John Henry Twachtman and William Merritt Chase, gave his art a unique mood. He was born in Iowa but soon after moved west to Milwaukee. He gained commercial success and popularity after a lucrative illustration commission from Field and Stream brought him to Colorado, where he was "entranced by the desert community of the Southwest." (R. Stewart, The American West: Legendary Artists of the Frontier, Dallas, Texas, 1986, p. 175)
Johnson said of his Western subjects, "seeing these people in the moonlight or even in the magic light of the stars impressed me very deeply." (as quoted in The American West: Legendary Artists of the Frontier, p. 175) Observations like this led him to produce a large number of paintings of subjects under the purple-blue shadows of the Western night sky. It is for these accomplished nocturnal scenes which Johnson is best known, and which are recognized as his greatest technical achievements. Richard Saunders tells us "During the 1910s and 1920s such romantic 'nocturnes' won Johnson critical praise. In 1923 a painting of a rugged Mexican traveling with a laden burro by lamplight won a $1000 prize at the Salmagundi Club's annual exhibition in New York." (The C.R. Smith Collection of Western American Art, p. 140)
A night scene like those that gained him renown, Voices in the Night depicts a moonlit scene of three Native Americans on horseback, with a background of weather-beaten buttes and a dark yet luminous blue-green wedge of sky. His ability to so skillfully render night scenes certainly reminds the viewer of Frederic Remington's great nocturnes. Indeed, "in technical terms, he is perhaps closer in spirit to the later Remington style than any other Western painter." (P.H. Hassrick, History of Western American Art, New York, 1987, p. 134)
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