Enjoy the Colorful Photographic Impressions created by Vann Helms
From the Blue Ridge Parkway below Grandfather Mountain, you’ll find the entrance to Rough Ridge Trail. Although rocky at times, it’s an invigorating climb to granite outcroppings that will give you the best views of Linville Gorge, the Eastern Escarpment, and Grandfather himself. Find a rock that you like, and just sit and enjoy the breathtaking vistas all around you. We got lucky on a day in the low 60’s, with low humidity. You must hike this trail.
In July, 1985, I made my first solo trip to the North Carolina mountains. I drove my 1983 Cadillac Coupe de Ville, and floated along the Parkway, taking side trips of discovery along backroads. My home base was a rustic cabin in northern Madison County, along Shelton Laurel Creek. I spent two weeks getting to know the places that would become so familiar to me twenty-five years later.
In those days, I had a very large VHS video camcorder that had to be plugged into the car lighter to work. No battery thirty-six years ago. I got to know the French Broad River very well, capsizing a canoe in a large rapids, much like the boys who you’ll see in the video. I got to know the Blue Ridge Parkway north of Mt. Mitchell, and much of the video was made from Parkway Overlooks. I had a lot of rain during my stay, but it never stopped me from exploring these magnificent valleys.
The video runs for twenty minutes, and the quality of the original tape sure makes me appreciate today’s digital Hi-Def cameras. As the late Donald Rumsfeld once said, “You go on vacation with the cameras you have, not with the equipment you wish you had”, or something to that effect.
Below are excerps from an article by Robert Alexander Boyle that was originally published in the 21st Anniversary/Spring 2021 issue of Antiques & Fine Art magazine, a fully digitized version of which is available at www.afamag.com.
Robert Duncanson (1821–1872), the Black artist of the Hudson River School, presents a challenge for scholars. His varied output—still life, genre, allegorical subjects, murals, and landscapes—presents a body of work yet to be fully deciphered. Guiding to a deeper interpretation are the extraordinary circumstances of a Black artist in the volatile 1850s, a fulcrum of experience forced between the Fugitive Slave Act of 1850 and the Emancipation Proclamation of 1862. Recent discoveries of long lost paintings by the artist, period literature and newspaper clippings, and maps and census data provide an eye-opener of context to Duncanson’s artistic journey. Applied to his art, this material reveals the hunger for freedom and basic human rights, all set in perilous but beautiful landscapes.
In 2003, a previously unknown work by Duncanson of Asheville, North Carolina, dated 1850, surfaced at Brunk Auctions, also in Asheville Accompanying the painting was a period newspaper from the Asheville Messenger describing Duncanson’s trip to the vicinity in August of 1850. Until the newspaper clipping was found, no proof existed that Duncanson had ever set foot in North Carolina, though works exhibited by him in Cincinnati from 1850 to 1863 had titles invoking the state. The writers of the newspaper article mention that Duncanson had covered a great deal of territory:
Artists Mr. R. S Duncanson and A. O. Moore of Cincinnati, Ohio, have been at our village and vicinity of a fortnight and more, taking sketches of the mountains and river scenery. They have visited Warm Springs, French Broad, Black Mountain, Cumberland Gap, and Hickory Nut Gap. And have a number of correct sketches of the most interesting objects at these places. Mr. Duncanson appears to be a fine artist and has shown us a number of very pretty sketches. We hope he will be amply repaid for his trouble, and if he has them engraved, we have no doubt a large sale will be made of them. We wish him abundant success. Certainly no part of America presents more, nor a greater variety of beautiful and grand scenery than Western Carolina and we are proud that artists are beginning to appreciate it. We are indebted to them for a very beautiful sketch of Hickory Nut Falls.
The Asheville painting is a large panoramic composition view, derivative of Thomas Cole in terms of palette and brush. It is dark and dramatic, and somewhat loose in execution. The historic owner of the canvas prior to its sale was the Patton family of Asheville, and tradition held that it was executed for James W. Patton (1803–1861), who by 1860, was alleged to own seventy-eight slaves; he was one of the largest owners in the area. A smaller painting, similar in subject and date, belongs to the Museum of Fine Arts, Houston . In that view, the town of Asheville is framed by gnarled and blasted trees trunks, clearly a devise borrowed from Thomas Cole’s Lake with Dead Trees (1825). The smaller work is believed to have descended in the family of Ernest Israel of Ashville before it arrived in the Museum of Fine Arts Houston collection in the early 2000s. It was a relative of Ernest Israel, named Jerry Israel, also of Asheville, North Carolina, who found the 1850 newspaper article. Jerry worked in the local newspaper business for many years before becoming an expert on the history of the Smokey Mountains as well as a partner in Brunk Auctions.
(Note: The above images were made from a place on today’s Sunset Mountain)
Duncanson’s companion on his southern trip was A. O. Moore, better known to history as Augustus Olcott Moore (1822–1865), an artist then publisher of books on horticulture, who was born in Augusta, Georgia. Two locations visited by Duncanson and Moore were Warm Springs and the French Broad (River), both in the valleys on the border of North Carolina and Tennessee. Travelling up and down the Tennessee River, the largest tributary of the Ohio River, and by extension its remote Smokey Mountain tributaries, would explain how Duncanson and Moore accessed the area, since there were no railroads in that part of the country in 1850. In 2016, another work was brought to auction at The Potomack Company in Washington, D.C., a scene of the French Broad River, on the border of Tennessee and North Carolina (Fig. 3). Similar to the Asheville works, leaning trees bracket the romantic composition left and right; a Cole formula to give the illusion of depth. In the middle, birds flock together before heading north for the summer.
Resulting from that same 1850 trip to the western Smoky Mountains are two paintings, both 16 by 26 inches, possibly originally a pair. Rediscovered separately, one was exhibited in Cincinnati’s Western Art Union, in July 1851. This Eastern Tennessee work was cited in Cincinnati newspapers in the summer of 1851, less than eleven months after the Asheville trip, and described as follows: “Duncanson’s View on Clinch River, is a fine picture. It gives a view of the stream for some distance—of a plain on the opposite side, and of hills and mountains in the distance. The water has fine effects, and the distance is revealed as faithfully as in any picture we have seen by this artist, and his distance is good almost invariably.”
Some twenty works of North Carolina and Tennessee have now resurfaced, some of which display a crisper hand or finer draughtsmanship compared to Duncanson’s Cole-influenced earlier romantic vistas. This advancement in technique and use of multiple layers of pigment, and a known canvas in the collection of Walter Evans dated 1856, begs the question as to whether Duncanson returned south or simply revised earlier works in his studio after his European tour of 1853–1854, when he was exposed to the work of the Pre-Raphaelites in England? Though yet to be determined, it’s likely that Duncanson returned to North Carolina in 1856.
Blogger note: Robert Duncanson emerged as the top African-American artists of the 19th century. His bravery in coming South in the 1850’s prior to The Civil War gave him a special place in the history of the Abolitionist movement. His talents compare with the best White painters in the Hudson River School.
Native to Southeast Asia, the Royal Poinciana Tree found its way to the Caribbean, and eventually to Southern Florida. Known also as the Flamboyant Tree, the Poinciana has a deep root system, making it perfect to survive hurricanes and drought. In winter, it loses its delicate leaves, allowing sunlight to filter down to grasses and shrubs below. and in May through August, the leaves return, and magnificent blossoms cover the entire canopy. The most common color is a brilliant red/orange, with white streaking on the inner petals, but less common are the orange/yellow flowers, and the rare yellow variety. The trunks and limbs are smooth, and the canopy can be up to seventy feet across.
The rarest wildflower I’ve ever found in the woods within a half mile of the house is a Pink Lady Slipper Orchid. Seven years ago, I came upon two plants in bloom about a quarter mile to the north, almost totally hidden by Mountain Laurel shrubs. The following year, I found one plant blooming in the same place, but since then, nothing there. Last May I was pleasantly surprised to discover six plants just thirty yards into the woods next to my carport. One bloomed, and I knew that this May, I might find more.
This morning I went into the woods as we returned from our walk, and there they were. I counted six orchids in bloom, seven in the process, and a number more just sprouting. As they say, “Good things come to those who wait…”.
Asheville in mid April four years ago.
Above the iconic Grove Park Inn, a labyrinth of narrow drives and precipitous switchbacks hides a collection of mansions that would rival anything found in California or the Italian Riviera. Clinging to hillsides so steep that many are invisible as you traverse the storybook lanes, these dowagers also are surrounded by gardens of evergreens and blooming shrubs that have been nurtured for decades to appear as though Mother Nature did all the work. Mid-April is traditionally the peak of Azalea and Dogwood season in the Mountains, and there’s no better place to observe this annual show than along these winding roads on Sunset Mountain. Here are images made on April 18th, showing just a fraction of the overall beauty just waiting to be appreciated by the curious visitor.
Dogwood and Wisteria
A Garden walkway with Japanese Maple
This 50 second video gives a more three dimensional view…
Four years ago.. worth a revisit…
After four inches of rain on Sunday and Monday, a passing front cleared the air and lowered the humidity to winter levels. The clarity of the mountain views was remarkable for late April. Montford Cove is a farming community a mile north of my home. This is one of my favorite vantage points anywhere along the Blue Ridge Escarpment. This image was made looking to the southeast, with Tryon Mountain in the far distance along the North and South Carolina border. Charlotte would be just over the mountain on the left.
Looking toward the southwest toward Lake Lure…
That’s Tryon and Bill’s Mountains on the horizon with Oak Mountain to the right. New Spring leaves give the canopy a rich glow of every shade of green. Visibility was unlimited.
This was a similar view just three weeks ago…
Other than the colors of Fall, my favorite time in the mountains happens when all the deciduous trees are sprouting new leaves at the same time, painting the slopes and valleys every shade of green you could imagine. A trip around my neighborhood at noon today bares this out.
Ten minutes south of me is Apple Valley Golf Club, with views of Rumbling Bald and Shumont Mountains.
Five minutes south of me is a gravel road called Mountain Way, which leads to one of my favorite overlooks of 3,100 foot Hickory Nut Mountain.
View from my deck at noon…
By the end of April, there will only be one green, dark, blending in with the pines and spruces for the upcoming summer.
After finishing their monumental design for the forest and gardens of Biltmore in Asheville, the Frederick Law Olmstead firm was commissioned to designed Charlotte’s first planned suburb, Dilworth, at the turn of the 20th century. With the success of Dilworth, a large farm just to the east was the next area to become a “Streetcar Suburb”, close to the center of Charlotte. Owned by the Myers family, the farm would be called “Myers Park”, and the first homes were constructed in 1911. Designed by Harvard trained landscape architect, John Nolen, Myers Park’s curvy avenues followed the contours of the hilly land, and featured parks, a country club and golf course, gates, and the expanded campus for Queen’s College, an all female liberal arts school. The design concepts Nolen executed in Myers Park forever changed the concept of suburban planning in Charlotte. Few suburbs in the United States have exhibited this level of planning. The neighborhood’s planning was so significant that it became a model for surrounding cities and saw the rise of many southern landscape artists, who went on to plan hundreds of neighborhoods across the south inspired by Myers Park.
Charlotte had become the leading textile manufacturing city in America, and the wealthy owners of these large corporations chose to build their mansions in Myers Park. Today, that original district is on the National Register of Historic Places, designated as a historic neighborhood in 1995. The architecture in the district is a mix of Colonial Revival, Bungalow, American Craftsmen, and English Tudor. Each property features professionally designed gardens, and there’s no better time to appreciate their incredible beauty than in Spring, when the Azaleas, Dogwood, and Japanese Maples are in full display.
This small cottage, a later addition to the district, was one of my favorites…
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