I have a stack of prints that I inherited sitting in my flat files at home. Once in awhile I’ll go through them, and consider framing one and putting it up. But I don’t have room, so they stay in the drawer. There are a couple of Maxfield Parrish (1870 – 1966) prints that I love, but can’t get past the image of one hanging in the den at the ranch. It just seems to “little old lady” to put one up. Nevertheless, they are beautiful. I could do without the lounging androgynous characters in Greek temples, but the landscapes are remarkable.
Both Ansel Adams and Maxfield Parrish worked through the beginning of the 20th-century. They shared the idea of creating images that went beyond traditional landscapes. Adams didn’t photograph the landscape; he photographed the weather. Parrish didn’t paint the landscape; he painted the light. The colors are iridescent. I’ve been told that he painted in layers, much like a printer lays one color on top of another, and the translucency of the paint produces a richer, more complex effect. Parrish also had a sense of narrative. The house in New Moon has a warm glow of a light inside, creating a sense of security, comfort, and warmth.