Packed up again and this time heading to Zion National Park for “In the Footsteps of Thomas Moran,” their annual fundraising painting competition.
My faithful car, loaded and ready to head for Utah
Despite the early snowfall I experienced in Stehekin (see posts for September/October), there was little left on the inland heights of eastern Oregon, Idaho and Utah. In the Puget Sound basin we’ve experienced an unusual run of pea-soup fog, so it was a relief to rise up over the coastal ranges into full late fall sunshine. The cottonwoods, aspen, willows have turned into brilliant yellows, golds and oranges. I saw pumpkins, some still in their fields, some in harvested piles. In both the eastern Cascades Mountains and the high plateaus of eastern Oregon, sub-alpine larches presented a color span of lime to orange, vivid against their dark green evergreen neighbors. It is a glorious time to be on a long drive in the West.
City of Rocks National Reserve, Idaho. All those shapes made me laugh when I saw them.
It’s true there is beauty, often unexpected, everywhere. Someone who paints industrial maritime scenes surely knows that! But I’m reminded each time I cross so many parts Washington, Oregon, California, Idaho, Utah, Nevada, Arizona – those thinly-populated, high, semi-arid vast vistas of botany and geology – of my deep love of these landscapes. Is it a kind of misanthropy, I value places without people in them? Or that I can see so much farther than in any city or forest? As a painter, I love distance because it smears out the details I tend to get too mired in.
Willard Bay, near Brigham City, Utah