Campfire in the redwoods: Edwin Deakin.

Abstract

Crispwoodsybreezes, amerry brook, andamicable encounterswith friendly faunacanserve toease thecares of lifewhen camping in the backcountry. Throughhis picturesque landscapes ofwesternwilderness, EdwinDeakin (1838-1923) sought to bring the outdoor experience to others as a virtual reality. Deakin’s quietly glorious, more personal scenes of the wild are perhaps as effective as a grand panorama in instilling in the viewer an appreciation of the treasures of the West. Born in England, Deakin began an apprenticeship at age 12 with a firm making japanned furniture (which typically involves a lacquering type of process), decorating with painted floral and other designs. In 1856, the Deakin family moved to Chicago, where his father established a business in hardware. Edwin is said to have brought along with him sketches in pencil and watercolor, prepared for an artistic occupation. He found work that included hand-coloring of photographs, and met Isabel Fox, whom he married in 1865. It was around 1867 that he started to paint, his first publicly exhibited work thought to be that of a venerable English tavern. In San Francisco, where new affluence resulting from industries that included silver or gold ventures had created a market for art, Deakin exhibited in area shows in 1870. A critic mused, “Mr. Edwin Deakin, who, for all we know may be a genuine ‘deacon,’ as he is a new apostle among the brethren on this coast, has given a sample of his powers. ... ” (Shields SA. Edwin Deakin: California Painter of the Picturesque. Sacramento/Petaluma, CA/Warwickshire, UK: Crocker Art Museum/Pomegranate Communications/ Pomegranate Europe; 2008:24.) TheDeakin family returned toChicago in 1871, only to experience theGreatChicagoFire,whichdecimated the city, the familybusiness, andanumberofDeakin’spaintings. SanFrancisco was his new home, and he began painting subjects that included tranquil lakes andmountainous horizons. Thework of landscapist Albert Bierstadt (JAMA cover, April 16, 2003) is suggested tohavebeenan influenceonhim.A sale ofDeakin’s work in 1873 boosted his confidence, and with this encouragement, ever the intrepid explorer, he reconnoitered Lake Tahoe and other scenic areas, creating sketches. A shift in Deakin’s style started to evolve in 1875 that was adeparture from the conventional landscapemodel. (Shields, p 40.) His work came to convey a more personal feeling, featuring smaller elements of scenery such as ponds and groupings of trees close at hand in the foreground, providing an immediate sense of the naturalistic setting. In Campfire in the Redwoods, the moonlight filters down through the boughs of the tall trees, reflecting off the water and the rocky terrain. In the clear, bright light a looming peak isdistantly visible.All seems serene,withnoperturbationevident in thenatural order. Two figureshunkerdown in the congenial glow of their fire, perhaps planning new adventures or simply taking in the splendor of their surroundings. Here in thewilderness, the simplicity andconsciousnessof one’s existence can be fully savored, away from distractions andmundanityofmodern life.Theopentent invites thecampers to rest, to be lulled asleep by the tinkly rhythm of a small waterfall nearby. Theproximityof the tent towater’s edge suggests that anight-timedeluge is not anticipated (which could cause runningwaters tobecome roaringwaters). The setting is likely the SierraNevadamountain region inCalifornia; ashasbeennoted, “Like other Northern California artists, Edwin Deakin visited Yosemite. Campfire in the Redwoods is an intimate nocturnal scene, stylistically like the works of the Barbizon painters.” (http://lagunaartmuseum.org/edwin-deakin-campfire-in-theredwoods-1875/)Awe-inspiring trees embellishing theYosemite area include the long-lived sequoia, and because of conservation efforts, sequoias ofDeakin’s timemay still grace the landscape. Around 1877 Deakin took a tour of Europe, visiting museums, sketching, and painting. An affirmation of his ability in landscape and architectural genres occurred with acceptance of his Mount Blanc and Eglise de Chelles, Le Soir for the 1879 Paris Salon. Deakin’s oeuvre also came to include still lifes and views of San Francisco’s Chinatown. In 1890, Berkeley became his permanent residence, and in this decade he extensively chronicled California missions. The rich cultural heritage of the state included 21 Franciscanmissions from the 1700s and 1800s. (Mahood RI, ed. A Gallery of California Mission Paintings by Edwin Deakin. Los Angeles, CA: Los Angeles County Museum of Natural History/Ward Ritchie Press; 1966:8.) Deakin also documented the 1906 San Francisco earthquake in his works, including the city ablaze in the aftermath. His admiration for the Palace of Fine Arts at the 1915 Panama-Pacific International Exposition in San Francisco led to his later portraying it on canvas. In 1915 he and Isabel celebrated their golden anniversary. The calming, therapeutic effect of Deakin’s nature paintings continues to charm viewers; as a writer noted previously, “The peculiarity of this artist’s pictures is that they grow upon you, and you like them better day by day. ... ” (Shields, p 42.) His warm, reflective works provide a precious look back to a time in a new state when the simple joys of nature were abundantly available to those seeking a soul-satisfying experience gained in contemplating its many natural wonders.