Wild Horses John Craig Sheppard

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John Craig Sheppard
Wild Horses John Craig Sheppard
1969

Name: Wild Horses John Craig Sheppard
Brand: John Craig Sheppard
Rating: 5 (355 reviews)

$2,000List Price

About the Item

Wild Horses Migrating in Snow by J. Craig Sheppard (John) (American, 1913-1978). Signed and dated “Craig Sheppard ‘69” in lower right corner. Presented in a simple wood frame and a double mat of brown and cream with glass. Image size: 22”H x 29.75” L John Craig Sheppard (1913-1978), was a native of Lawton, Oklahoma, where he was a rodeo bareback rider in arenas from Oklahoma to New York's Madison Square Garden and an outstanding graduate student in art at the University of Oklahoma in Norman. He arrived in Reno, Nevada in 1947 to serve as chair of the University of Nevada art department. Sheppard's exceptional skills as a watercolorist and charisma made him a cultural icon in northern Nevada. Sheppard learned to rope and to ride from his father. As a young man, he was a cowboy and rodeo rider, even riding bulls in Madison Square Garden, and the cowboy mystique was to stick to him for the rest of his life. Thus it was with some misgivings that Sheppard entered college as an art major, fearing his choice would be considered less than manly. While attending college, Oscar B. Jacobson, the chairman of the Art Department, had started a program there for young American Indian artists in the 1920s. Sheppard became friends with the young Indian artists there, and they each influenced the other. Sheppard was later pressed into service at Douglas Aircraft in Tulsa. The huge influx of unskilled workers brought with it the need for three-dimensional drawings to explicate the complicated blueprints for aircraft assembly. After the war years, he accepted a teaching assignment at the fledgling art department in Reno at the University of Nevada. As a teacher, he excelled. His teaching reflected his belief that the language of art was not verbal but visual. His superb drawing skills, he would show a student the way out of whatever visual dilemma in which he was enmeshed. This warm, kind man did not give negative criticism. As Jim McCormick has said: "It was almost impossible for Craig to say anything negative about another person." Instead, he was able to discern the personal visual path that a student was attempting to follow, and when the student lost his way, Sheppard would gently help him find the path again. The Nevada desert was a challenge as well to this painter familiar with the brighter colors of the landscape of the Southwest. Free time away from the university found him exploring the Nevada desert landscape, learning to appreciate and paint its subtle colors, strong contrasts of light and dark, and, most of all, its immensity of space. Working mostly in oils, he reflected in his early work the strong classical training of the University of Oklahoma. Traces remain of a flat, decorative use of color derived from the Kiowa Five tradition and Work Projects Administration muralists of the 1930s, with the new forms. In 1955, a Fulbright award to lecture at the University of Oslo on Native American art provided both a change of scene and some comparatively free time to paint. Two themes in my Sheppard’s work emerged from that year in Norway. His painting became more abstract, often using Norwegian fishing boats for imagery. Again, forms tended to be fairly flat, but the new colors he used were more vivid and were encompassed by stronger linear contours. Hampered by the short days of the northern Norwegian winter, he developed a second theme. Still full of energy for work, when the light had faded too much for colorwork, he took up the brush and sumi-ink drawing. Producing on a long winter evening fifty or more drawings, mostly of horses, he would discard all but a few. This extensive series is well-known in Nevada, and he returned to it periodically throughout his life, seemingly never tiring of its development. An eighteen-month sabbatical to France in 1960-61, provided another pivotal time for Sheppard. Living first in a small village in Touraine, he followed that provincial experience by a lengthy stay in Paris, where, for the first time in his life, he was able to devote his full energies to painting. Retaining some of the structural elements of his prior work, he started a series of watercolors of French bridges and other French subject matter. Coming from the dryness of Nevada, he reflected the atmospheric contrast of a wet French winter in these semi-abstract paintings. Further experimentation with watercolor led to a series, in both watercolors and oils, that he was to continue for some time after his return to Nevada. Dreamlike figures predominate, almost engulfed in loose, glowing washes of color. Now occupied once again with teaching as well as additional responsibilities as chairman of the Nevada State Council on the Arts, he continued to paint, gradually moving from the lush watercolors and oils that he had developed in France to watercolors of the Nevada desert. Commissions for illustrations from various presses–notably the University of Nevada Press portfolio, Landmarks of the Emigrant Trail–intensified his interest in the Nevada desert theme. He and his wife spent more than a year exploring traces of the old Applegate-Lassen emigrant trail across Northern Nevada, and out of these works eight paintings were reproduced for the portfolio. Another sabbatical to Mexico allowed him to continue with watercolors similar to those produced for the emigrant trail series. Watercolor is the medium for which he is most noted and in which he worked exclusively toward the end of his life. A transparent medium, difficult if not impossible to rework or correct, it seemed to suit his temperament

Creator:
John Craig Sheppard (1913 - 1978)
Creation Year:
1969
Dimensions:
Height: 26.25 in (66.68 cm)Width: 36 in (91.44 cm)Depth: 0.75 in (1.91 cm)
Medium:
Watercolor,Paper
Movement & Style:
American Realist
Period:
1960-1969
Condition:
Gallery Location:
Soquel, CA
Reference Number:
Seller: GV58601stDibs: LU5424913722

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