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  • Frank Tenney Johnson
    Jun 26, 1874 - Jan 1, 1939
  • Beneath the Southern Moon - Frank Tenney Johnson was born near Big Grove, Iowa and would become an important early 20th-century American Western artist. Raised on a farm on the old Overland Trail, he observed the western migration of people on horseback and in stage coaches and covered wagons. This exposure to the American West would prove to be an important influence and inspiration for Johnson as an artist and painter of the American West.
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Beneath the Southern Moon
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  • Beneath the Southern Moon

  • Frank Tenney Johnson
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  • Oil on canvas
    36 x 28 inches

    Harold McCracken, The Frank Tenney Johnson Book, The life and work of a master painter of the Old West, Garden City, New York, 1974, p. 96a, illustrated.
    Myrna Zanetell, A Unique Legacy, Art of the West Magazine, July/August 2008, p. 52, illustrated.

    In 1904, Frank Tenney Johnson set out to see and paint the Rocky Mountains and the Southwest. On a meager stipend from Field and Stream magazine, he travelled the backroads of Colorado and then New Mexico. His experiences there, the people he encountered and his firsthand observations of the vanishing West were to leave a life-changing impression on his photographic memory. This unique opportunity set the style and subject matter of his paintings throughout the remainder of his career.

    Harold McCracken writes about this in his book on the artist as the latter is concluding his visits by train through several New Mexico towns and pueblos: It was difficult for Frank Tenney Johnson to leave Manuelita and the parts of the Indian country of the southwestern desert region, just as it had been difficult to leave the cowboy and cattle back country of Colorado. Each new day had brought new memorable experiences. Moonlit nights in rocky canyons and starlit nights around the old adobe Indian trading posts had made tremendous impression upon him. All this was to determine and shape the future of this talented young artist. The impressions he had gotten were to appear in a great many of the finest paintings he was to put on canvas until the last days of his life.

    To achieve luminosity in his nocturnal compositions, Johnson studied the skies in Maxfield Parish's paintings. Collectors began to recognize that there was something different about his work that made him stand apart from the older Western icons such as Charles M. Russell and Frederic Remington. While those artists were associated with the wild West of gunfights, stampedes and plains warfare, Johnson's West was generally one where the fight had gone out of its inhabitants. Their West was vast, arid and difficult, but it was now settled. He portrayed cowboys having a smoke, Indians trading and Mexicans relaxing. Beneath the Southern Moon exemplifies Johnson's perspective of the West marvelously as it captures the artist's own descriptive diary entries as written in McCracken's 1974 book.

    His Field and Stream assignment was so successful that he returned to the West on several occasions for the magazine and later for his own career as a painter.

    Johnson is often considered the artist that "represented the best in the Old West." In 1942, Grand Central Art Galleries in New York hosted an exhibition of the artist's work. The entire show was allegedly bought by the noted Western collector Amon G. Carter on opening night.

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Other paintings by Frank Tenney Johnson:

Banks of the Little Colorado, Near Cameron, Ariz
Banks of the Little Colorado, Near Cameron, Ariz
Beginning of a Lonely Night
Beginning of a Lonely Night
Beneath the Western Moon
Beneath the Western Moon
Between Canyon Walls
Between Canyon Walls
Frank Tenney JohnsonFrank Tenney Johnson was among the most reflective, introspective artists ever to paint the West. His love for the vanishing West of the cowboy was perhaps engendered in him by the close proximity of his birthplace near Council Bluffs, Iowa, to the Overland Trail. Even as a young man Johnson sensed that his career would have to be that of an artist of the Old West.

In 1895 Johnson made his way to New York, where he eventually studied at the Art Students League and with such fine art notables as J.H. Twachtman, Robert Henri and William Merritt Chase. His first professional work came to Johnson in the form of illustration commissions for Zane Grey novels and for Field and Stream and other periodicals. In many ways, however, his first professional work came in the form of a 1904 trip to Colorado and the Southwest, a trip that Johnson was to make many times in his life. The trip seemed to bring into focus an impression of the Old West that made Johnson famous.

Johnson was an excellent draftsman. He used the best materials available to an artist. As did others, Johnson painted with brush, knife and fingers. Above all, Johnson painted scenes of the West that were tableau-like; he rendered romantic, poetic Western genre scenes that differed entirely from the stop-action, narrative works of his contemporaries, C.M. Russell and Frederic Remington. Johnson painted scenes that reflected his preference for non-violent subjects, scenes that showed the cowboy, the Indian or the Spanish settler in a pastoral context. Among these quiet, philosophical canvases two types stand out: his paintings of horses and his night scenes.

Eventually, Johnson became a renowned artist with studios in Los Angeles; Cody, Wyoming; and New York. He was collected by major institutions including the National Gallery of Art in Washington, D.C.; the Royal Palace in Copenhagen; and Fort Worth's Amon Carter Museum. In 1937 Johnson became an Academician of the National Academy of Design.

At the peak of his career Johnson's life came to an unusually unfortunate end. In December, 1938, Johnson attended a party, where he gave a social kiss to his hostess. Within two weeks' time, both were dead of spinal meningitis. In Frank Tenney Johnson's death, the United States lost one of the most accomplished artists ever to love the Old West.