Sharpsburg Waterfront Archives

The Consequences of Losing

My watercolor and gouache cityscape painting of Seneca leader Guyasuta as he stands on pedestal in H.K. Heinz Memorial Plaza, Sharpsburg (Pittsburgh) was my submission to the exhibition:

The Grandeur of Power curated by Eric Shiner May 6- June 24 2o23.

Eric is now President of Powerhouse Arts in Brooklyn which opens later in May 2023.

Associated Artists of Pittsburgh Exhibition Space
100 43rd St. Unit 107
Pittsburgh, PA 15201

HOURS: Wed, Thurs, Fri — 11AM-6PM

I was thrilled just to have a piece accepted, and then at the art opening my painting was purchased (t.h.a.n.k. y.o.u. ) by well-known residential, workplace, and hospitality interior designer and friend, Becky Jarold of B Jarold and Co.

FUN opening party! Me with Becky in first picture!

Some of these photos are by Photos by Chris Uhren.

To see the full exhibit in his photos (if you cannot go or if the exhibition has ended) scroll to the bottom of this link.

I had my painting high-res scanned so while the original is sold, giclee $75 prints are available: prints available

For the show theme Eric wrote these words:

Power is a complex notion that energizes and subjugates in equal measure. Darwin, speaking on the seismic shifts in the Andes which gave birth to volcanoes there, describes it in terms of grandeur. Andrew Carnegie, patron saint of the arts here in Pittsburgh, referred to it thus: “Immense power is acquired by assuring yourself in your secret reveries that you were born to control affairs.” Of course, these two opposing notions create a central paradox: one based in human control; the other, based on the force and uncertainty of nature. Art, it seems, becomes the ideal interstitial zone between nature and culture, as it is both fully and radically free, yet it is authored by those who, by their very nature, so often oppose and protest systems of control. The selections in this juried exhibition examine notions of power from myriad viewpoints and through numerous media. In the end, they all share the common thread of urging us to question power, and ultimately to harness it to benevolent ends.
-Eric Shiner

I painted Guyasuta during a period of time just weeks before the COVID shutdown when I was busy painting nothing but paintings OF sculpture. As an artist, I don’t title paintings when I paint them, I think many artists do not. The title gains importance if I am having a show or submitting to a show, and then I have to think about it. For Eric’s show I read his words about power with interest, then looked at my pile of paintings from right before Covid shutdown till now. I selected Guyasuta, next to the annual Christmas tree in front of Guyasuta Lounge in Sharpsburg and I titled it “The Consequences of Losing.” You just have to use your imagination.

The most thorough and interesting history of the monument starting in late 1800’s, which I read after I submitted the piece, is here.

If you know where Redhawk Coffee Roasters in Sharpsburg is, you cannot miss seeing Guyasuta and as you might guess, this is not something Guyasuta actually sat for. It’s a generic “Indian Chief’. The is the third Guyasuta monument in that very spot and they are all modeled on “No. 53 Indian Chief”.

The capital of the original J.L. Mott Iron Works monument (sketch below) supported the statue of an Indian (Guyasuta) which was modeled from an original wood carving created by Samuel Anderson Robb. Born in 1851 in New York, Robb was the son of a Scottish shipwright. Robb apprenticed to a shipbuilder (probably Thomas V. Brooks) for five years, then went to work for a wood-carver, making figures for tobacco shops, and attending night classes at the National Academy of Design and Cooper Union. After his apprenticeship, he worked for William Demuth carving tobacco figures. Robb carved the generic Indian Chief for William Demuth & Co. who cast it in zinc and advertised it in his catalog as “No. 53 Indian Chief.” In 1873, the J.L. Mott Iron Works purchased the design and listed it in their catalog of statuary. In his right hand the Indian Chief holds an arrow, and in his left hand he holds a bow attached to a base near his left foot, which rests on a rock. Here’s what the first one looked like on this site in Sharpsburg (Pittsburgh). Horses, humans and dogs could drink from it.

Hats off to all EXHIBITING ARTISTS in The Grandeur of Power: Ruthanne Bauerle, Gavin Benjamin, Robert Buncher, Alan Byrne, Dino DeIuliis, Dan Droz, Rebecca Einhorn, Fabrizio Gerbino, Henry Winslow Hallett, Hannah Harley, Ulric Joseph, Renee Keil, S. Kessler Kaminski, Laura P. Krasnow, Alexandra Lakin, Deborah Lieberman, Ignacio Lopez, Christine Lorenz, Penny Mateer, Ben Matthews, Richard McWherter, Brent Nakamoto, Ellen Chisdes Neuberg, Thomas J. Norulak, Emily Paige, Brian Pardini, Paul Roden, Christopher Ruane, Nicole Renee Ryan, Patrick Schmidt, Ben Schonberger, James Simon, Henry J. Simonds, Carol Skinger, Becky Slemmons, Kara Snyder, Zim Syed, Mia Tarducci, Tresa Varner, LaVispera, Thomas Waters, Suzanne Werder, Hisham Youssef, Kathleen Zimbicki

“Downriver view from Highland Park Bridge” SOLD Watercolor ad Gouache

I like the idea of plein air painting, I really do but I don’t like doing it, at least it seems that way. Where would I go to the bathroom if I stood out on the bridge to paint this? Would I dump a few gallons of water from cleaning my brushes over the side? Even if that was OK and its not, there is a chain link fence. The amount of stuff I would schlep is not appealing but it happens sometimes and I have been known to say I like plein air painting, and in truth there ARE moments when I like it, but mostly I like the idea of it. Though working on site is good for sketching I rarely take a painting all the way through at the site.

People ask if I use photos when I create a painting. I very often do. Here are a few I took to visualize a composition for this painting. I see this view so often when driving over the bridge I wanted to paint it. There is a sidewalk on the bridge and I recommend walking it to slow down the view you see when driving.

A list of things seen in my painting is at the bottom of this post.

Some of the many pictures I took to help visualize this scene:

I walk out on the bridge and do a quick sketch and take a bunch of pictures. Then I put together my ideas indoors, where there is a sink, a bathroom, heat and air conditioning. Oh and a computer where I look at my photographs. So no. I am not much of a plein air painter. Not often anyway. I even take pictures of my painting while I am painting it and seeing them on a big screen helps me know what to do next. Pathetic words for a real plein air painter!

What you can see in this painting looking downriver from Highland Park Bridge:

Lock No. 2 on left at foot of Morningside . The bridge you see is the 62nd Street Bridge. The first neighborhood on the right is Sharpsburg and the docks and island nearest you are where, in 2015 you can rent a pontoon boat at Sharpsburg Islands Marina. The water tower is in Sharpsburg. A new plan is underway to develop a wonderful waterfront park. It is the vision of Susan and Currie Crookston. The Crookstons generated community support from the three municipalities the property runs through, Sharpsburg, O’hara and Aspinwall. The new Aspinwall Riverfront Park which you cannot see in this view. It is on the right and it is just on the upriver side of Highland Park Bridge.

The Grandeur of Power, Associated Artists of Pittsburgh Exhibition May 6- June 24, 2023

Sketch on site, paint in the studio