Great turning points in my life occurred during my four years in high school. There I was blessed with some extraordinary teachers. I planned to attend college after my high school graduation to earn a degree in engineering. Consequently, I enrolled in what was termed “College Preparatory Course”. This curriculum required a heavy dose of science and mathematics classes and intense English classes. I shared this curriculum of courses with other students headed to college. When I entered college, I found that I had received an education equal to or better than my fellow college students who attended expensive prep schools.
The intense nature of the College Prep curriculum left little room for anything else, specifically interesting elective courses. However, I was somehow able to sneak in a year of art with Ms. Marie Sauer. From my earliest years, I loved art. I made all the Disney characters in colored construction paper and hung them from a wire coat hanger creating a mobile. Colored construction paper became the medium for creating my book report covers. I also sculpted characters from the movies, specifically horror movies like Frankenstein and Dracula. My passion for art since childhood motivated me to seize a place in Ms. Marie Sauer’s art class when as an elective it became available to me.
Ms. Sauer’s encouraging words to me as my art projects were being created were just one of the many attributes of her teaching style. I especially appreciated her positive way of helping me overcome my fear of tackling a project I deemed beyond my talent and capability.
A case in point was my reticence at tackling a drawing project in the medium of charcoal. In her classroom was a sculpture of the bust of Abraham Lincoln. Lincoln was a hero of mine, so I wanted to somehow produce a piece of artwork using that sculpture. Ms. Sauer’s challenge to me was to shine a light on the bust from a certain angle, then draw the resulting image in charcoal. My initial reluctance to use charcoal for this project was overcome with the urging and encouragement of Ms. Sauer’s convincing counsel. The result was to hang in my library to this day.
Abraham Lincoln Bust in Charcoal (1958)
After I graduated from college, I was on an assignment in Las Vegas, Nevada that required daily trips into the desert. On the way to my work destination I saw signs for a Nevada State Park called the Valley of Fire. On one of the few days I had off of work, I journeyed through this amazing natural wonder. The colors of the natural creation gave credence to the name for it surely seemed to be ablaze with fire.
Valley of Fire – Nevada State Park
This experience planted a seed in me, a certain image burned into my memory. That seed came to life when I enrolled in graduate school some months later. Each night when I came home late after classes, I was too wound up to get to sleep. I needed something to help me to relax. My solution was to make an oil painting of the image that the Valley of Fire inspired in me months before.
I purchased a canvas and mounted it on a wooden frame. Thus began what would be a project that spanned more than two years.
I started the project by sketching the image I had in my mind onto the canvas. I imaged a bush on fire as I walked through the Valley of Fire State Park that day in the summer of 1965. Now, I worked to put this image onto the canvas. I purchased oil paints in the colors I knew I needed to achieve the color effects the painting required.
My concept for the painting was to create an image comprised of triangles. Each triangle would be painted a solid color. No two triangles of the same color were to touch each other save for at a point of an adjoining triangle. There would be three basic elements of the painting. The first was the ground on which the bush was growing. The second was the bush itself. The third was the fire and its resultant glow as it encompassed the bush. I hoped to produce in the mind of the viewer of the final piece a sense of a bush growing on a hill ablaze with a fire whose essence was exploding outward like the sun. I also used the shapes of the triangles to combine with the colors to give the visual effect I tried to achieve. Larger and bolder triangles were used for the ground and narrow triangles were used for the roots and branches of the bush. The fire triangles were also elongated to give the bursting effect I wanted to portray.
With this in mind I began by painting the ground, a “ground-up” sort of plan, probably based on my engineering thinking. This project soon became a greater challenge than I first imagined. Abiding by the rules I established, I had to create forty seven different shades of brown to join the color black. What made this particularly difficult was the fact that I needed to reserve lighter shades of brown for the branches and roots of the bush and the varied shades of brown the bush would required.
Each night I set to work a new shade of brown was mixed on my pallet until the ground was completed. Once the ground was completed I began to work on the bush. This required a variety of lighter shades of brown to distinguish it from the ground and produce the effect I needed to enable the viewer to see the bush, its branches and roots.
When the bush was completed, I tackled the bursting effect of the fire encompassing the bush. I accomplished this effect by blending the colors of the triangles from bright yellows nearest the bush to dark reds at the periphery of the painting. The shpe of the triangles enhanced this effect.
All this painting of triangles necessitated painting most of it with a paint brush with only a few hairs. This was required to paint the sharp points of the triangles. Again, the challenge with this area of the painting was to create a large number of shades of yellows, oranges and reds to achieve the effect desired without violating the established rules.
The painting was created over the two and half years of my MBA graduate studies. Each night upon returning home from classes, except for the months I was courting my wife, I spent an hour or so painting three to five triangles at a time. I created a shade of a particular color, then with that color triangles were added to the canvas. It was a long and tedious project but it gave me peace and prepared me for a good night of rest.
I have called the resulting oil painting my masterpiece. It is the image of Moses’ Burning Bush from the Bible. I often told visitors to our home gazing at my painting to “take off your shoes as you are standing on hallowed ground” inspiring them to say, “Ah! It’s Moses’ burning bush!”
The Burning Bush of Moses (1967-1970)
After my master piece was completed I continued to exercise my passion and joy for art. I have explored a number of various forms, working with hook rug art, photography, and wood work. But what I found to be most interesting was the way God used my passion and interest in art as a means to open opportunities for me to be a blessing for someone I met along my path of life.
Turning Points
Ms. Sauer challenged me to explore my limits and develop my talents in the arts. That was a turning point for me. It was not only relative to my art and creativity self-esteem, it also applied in my life generally. We all have God-given talents. Each of these talents have a purpose that may be hidden from our realization for years only to be resurrected at just the right time to allow us to employ them to be a blessing for someone.
The consequence of this turning point relative to my art talents was my personal joy in expressing these talents through art in many forms. Whether we see the beauty of art in the Creation and its wonders or in the art created via the talents of others, appreciating art in all its varied forms adds immeasurably to our lives.
COPYRIGHT © 2014 ALLAN E. MUSTERER
