M. Mark Miller, Author

Category: Thomas Moran

  • Moran’s Legacy 4: Watching Giantess Geyser — Text by N. P. Langford, 1871

    Giantess Geyser YDSL05101
    Giantess Geyer

    When it was a brand new magazine, Scribner’s Monthly hired Thomas Moran to illustrate N. P. Langford’s two-part report of the Yellowstone wonders he saw on the Washburn Expedition of 1870. Because Moran conjured the illustrations based soley on Langford’s descriptions, it’s particularly interesting to compare what the writer said to what the artist drew.

    Here’s Langford’s description of Giantess Geyser and Moran’s conception of it. As you can see by comparing the illustration to the the photo above, Moran’s pagoda style geyser isn’t very realistic. But it is an interesting interpretations of Langford’s words.

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    TheGiantessScribners1871MoranOur search for new wonders leading us across the Fire Hole River, we ascended a gentle incrusted slope, and came suddenly upon a large oval aperture with scalloped edges, the diameters of which were eighteen and twenty-five feet, the sides corrugated and covered with a grayish-white silicious deposit, which was distinctly visible at the depth of one hundred feet below the surface.

    No water could be discovered, but we could distinctly hear it gurgling and boiling at a great distance below. Suddenly it began to rise, boiling and spluttering, and sending out huge masses of steam, causing a general stampede of our company, driving us some distance from our point of observation. When within about forty feet of the surface it became stationary, and we returned to look down upon it. It was foaming and surging at a terrible rate, occasionally emitting small jets of hot water nearly to the mouth of the orifice.

    All at once it seemed seized with a fearful spasm, and rose with incredible rapidity, hardly affording us time to flee to a safe distance, when it burst from the orifice with terrific momentum, rising in a column the full size of this immense aperture to the height of sixty feet; and through and out of the apex of this vast aqueous mass, five or six lesser jets or round columns of water, varying in size from six to fifteen inches in diameter, were projected to the marvelous height of two hundred and fifty feet.

    These lesser jets, so much higher than the main column, and shooting through it, doubtless proceed from auxiliary pipes leading into the principal orifice near the bottom, where the explosive force is greater. If the theory that water by constant boiling becomes explosive when freed from air be true, this theory rationally accounts for all irregularities in the eruptions of the geysers.

    This grand eruption continued for twenty minutes, and was the most magnificent sight we ever witnessed. We were standing on the side of the geyser nearest the sun, the gleams of which filled the sparkling column of water and spray with myriads of rainbows, whose arches were constantly changing—dipping and fluttering hither and thither, and disappearing only to be succeeded by others, again and again, amid the aqueous column, while the minute globules into which the spent jets were diffused when falling sparkled like a shower of diamonds, and around every shadow which the denser clouds of vapor, interrupting the  sun’s rays, cast upon the column, could be seen a luminous circle radiant with all the colors of the prism, and resembling the halo of glory represented in paintings as encircling the head of Divinity.

    All that we had previously witnessed seemed tame in comparison with the perfect grandeur and beauty of this display. Two of These wonderful eruptions occurred during the twenty-two hours we remained in the valley. This geyser we named “The Giantess.”

    ∞§∞

     —   Excerpt and illustration from N. P. Langford, “The Wonders of the Yellowstone,”  Scribner’s Monthly 2(2)113-128 (June 1871).

    — NPS Photo, Yellowstone Digital Slide File.

    — For more about Moran’s legacy, click on “Thomas Moran” under the Catergories button.

  • Moran’s Legacy 3: The Grand Canyon of the Yellowstone — Text by F.V. Hayden

    Thomas_Moran_-_Grand_Canyon_of_the_Yellowstone_-_SmithsonianProbably Thomas Moran’s most famous painting is his 7-by-12-foot depiction of the Yellowstone Canyon and Falls. It hung in the U.S. Capitol for decades and now resides in the Smithsonian. There is an excellent full-size reproduction at the Caynon Visitor Center in Yellowstone Park.

    Moran spent three full days, July 28-30, sketching the canyon and fails while accompanying F.V. Hayden’s expedition to explore and documents the wonders of the upper Yellowstone in 1871. These sketches served as the basis for several full fledged paintings of the canyon and falls over the next few years.

    Moran’s journal entries for his days at the canyon are extremely sparse. His July 30 entry is typical; it said simply: “photographing and sketching around Falls and Canyon.” Fortunately, F.V. Hayden offers more detail. Here’s Hayden’s description of the falls and canyon, and Moran at work there.

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    Standing near the margin of the Lower Falls, and looking down the caynon, which looks like an immense chasm or cleft in the basalt, with its sides 1,200 to 1,500 feet high, and decorated with the most brilliant colors that the human eye ever saw, with the rocks weathered into an almost unlimited variety of forms, with here and there a pine sending its roots into the clefts on the sides as if struggling with a sort of uncertain success to maintain an existence—the whole presents a picture that it would be difficult to surpass in nature.

    Mr. Thomas Moran, a celebrated artist, and noted for his skill as a colorist, exclaimed with a kind of regretful enthusiasm that these beautiful tints were beyond the reach of human art. It is not the depth alone that gives such an impression of grandeur to the mind, but it is also the picturesque forms and coloring. Mr. Moran is now engaged in transferring this remarkable picture to canvas, and by means of a skillful use of colors something like a conception of its beauty may be conveyed.

    After the waters of the Yellowstone roll over the upper descent, they flow with great rapidity over the apparently flat rocky bottom, which spreads out to nearly double its width above the falls, and continues thus until near the Lower Falls, when the channel again contracts, and the waters seem, as it were, to gather themselves into one compact mass and plunge over the descent of 350 feet in detached drops of foam as white as snow; some of the large globules of water shoot down like the contents of an exploded rocket.

    It is a sight far more beautiful, though not so grand or impressive as that of Niagara Falls. A heavy mist always arises from the water at the foot of the falls, so dense that one cannot approach within 200 or 300 feet, and even then the clothes will be drenched in a few moments. Upon the yellow, nearly vertical wall of the west side, the mist mostly falls, and for 300 feet from the bottom the wall is covered with a thick matting of mosses, sedges, grasses, and other vegetation of the most vivid green, which have sent their small roots into the softened rocks, and are nourished by the ever-ascending spray. At the base and quite high up on the sides of the canyon, are great quantities of talus, and through the fragments of rocks and decomposed spring deposits may be seen the horizontal strata of breccia.

    ∞§∞

    — F.V. Hayden, Preliminary Report of the United State Geological Survey of Montana. Washington: U.S. Government Printing Office, 1872.

    — Coppermine Photo Gallery image.

    — For more on this topic, select “Thomas Moran” under the Categories button to the left.

  • Moran’s Legacy 2: Mammoth Hot Springs — Text by Edwin J. Stanley, 1883

    “Hot Springs of the Yellowstone,” Thomas Moran 1871

    Mammoth Hot Springs was the first major feature Thomas Moran encountered when he toured Yellowstone Park in 1871 with the Hayden Expedition. Moron’s diary entries for the three days he spent at Mammoth contain not a word of description. Apparently he was content relying on his watercolor sketches.

    Of course, many travelers did offer written descriptions of the springs. Here’s one by Edwin J. Stanley, a writer, historian, and Methodist minister, who visited Yellowstone Park in 1873.

    ∞§∞

    I came suddenly out in full view of the far famed Hot Springs. Having read glowing descriptions of the place, and being rather despondent from the fatigue of travel, I felt somewhat disappointed, and feared my expectations would not be fully met; but all such impressions vanished at first view of the strangely-beautiful scene, and I felt that the half had not been told, though the sun was obscured by clouds, depriving me of much of the inspiration that the first view would otherwise have furnished.

    The proprietors of the place, two young gentlemen from Bozeman, anticipating the value of these springs as a place of resort for pleasure-seekers and invalids, had taken possession of them before the passage of the bill including them in the National Park, and styled them the Mammoth Hot Springs. But Dr. Hayden, the United States Geologist, doubtless moved by the first impression made upon his mind on arriving here, gave them the title of White Mountain Hot Springs.

    Both titles are quite appropriate, considering their mammoth proportions—surpassing anything of the kind yet discovered—and the vast mountain of white and yellowish deposit made from the mineral solutions contained in the immense volumes of water gurgling up from scores of boiling fountains. This immense calcareous formation, with its numberless and intricate phenomena, baffling all attempts at description, is the chief object of interest here.

    The first impression on beholding it is that of a snowy mountain beautifully terraced, with projections extending out in various directions, resembling frozen cascades, as though the high, foam-crested waves, in their rapid descent over the steep and rugged declivity, were suddenly arrested and congealed on the spot in all their native beauty. There are fifty or sixty of these springs of greater and smaller dimensions, extending over an area of about a mile square; though there are remains of springs of the same kind for miles around, and mountains of the same deposit overgrown with pine-trees, perhaps hundreds of years old.

    Most of the water is at boiling heat, and contains in solution a great amount of lime, sulphur, and magnesia, with some soda, alumina, and other substances, which are slowly deposited in every conceivable form and shape as the water flows along in its course down the mountain-side.

    On each level, or terrace, there is a large central spring, which is usually surrounded by a basin of several feet in diameter, and the water, after leaving the main basin at different portions of the delicately-wrought rim, flows down the declivity, step by step, forming hundreds of basins and reservoirs of every size and depth, from a few inches to six or eight feet in diameter, and from one inch to several feet in depth, their margins beautifully scalloped with a finish resembling bead-work of exquisite beauty. The character of the formation depends upon the temperature and flow of the water, as well as upon the character of prevailing minerals at that particular place. Where the water flows slowly, and with but slight ebullition, the smaller basins and terraces are formed, one below the other, with their delicate partitions and beautifully-fringed borders; and where the volume and momentum are greater, the basins are larger and deeper, and the ornamentation proportionately coarser.

    Where the water flows quite rapidly, the pools are filling up, leaving the deposit in wave-like forms, just like water congealed when flowing over a cascade. Underneath the sides of many of the basins are beautifully-arranged stalactites, formed by the dripping of the water; and, by digging beneath the surface at places where the springs are inactive, the most delicate and charming specimens of every character and form can be obtained—stalactites, stalagmites, grottoes, etc., all delicately arranged as the water filtrates through the crevices and perforations of the deposit. The larger pools, before the erection of bathing-houses, afforded a splendid opportunity to enjoy the luxury of bathing, as water of any temperature desirable could be secured. The sides of the mountain for hundreds of yards in extent are covered with this calcareous incrustation, formerly possessing all the ornamental attractions of the springs now in action. It is a scene sublime in itself to see the entire area with its numerous and terraced reservoirs, and millions of delicate little urns, sparkling with water transparent as glass, and tinged with many varieties of coloring, all glistening under the glare of a noonday sun. But the water is constantly changing its channel, and atmospheric agencies have disfigured much of the work, leaving a great portion of it only the resemblance of an old ruin.

    Every active spring or cluster of springs has its succession of little urns and reservoirs extending in various directions. The largest spring now active, situated about half-way up the mountain on the outer edge of the main terrace, has a basin about twenty-five by forty feet in diameter, in the centre of which the water boils up several inches above the surface, and is so transparent that you can, by approaching the margin, look down into the heated depths many feet below the surface. The sides of the cavern are ornamented with a coral-like formation of almost every variety of shade, with a fine, silky substance, much like moss, of a bright vegetable green, spread over it thinly, which, with the slight ebullition of the water keeping it in constant motion, and the blue sky reflected in the transparent depths, gives it an enchanting beauty far beyond the skill of the finest artist. Here all the hues of the rainbow are seen and arranged.so gorgeously that, with other strange views by Which one is surrounded, you almost imagine yourself in some fairy region, the wonders of which baffle all attempts of pen or pencil to portray them.

    Besides the elegant sculpturing of this deposit, imagine, if you can, the wonderful variety of delicate and artistically-arranged colors with which it is adorned. The mineral-charged fluid lays down pavements here and there of all the shades of red, from bright scarlet to rose-tint, beautiful layers of bright sulphur-yellow, interspersed with tints of green—all elaborately arranged in Nature’s own order. Viewed from the Tower Creek trail, which passes at the base, this section of the mountain has a very architectural appearance.

    But descending the mountain from which we first beheld the springs, and where we left the reader, we come to the first level, or terrace, the base of the principal formation. There are several springs, the water of which is used by the scores of invalids already flocking here to be healed of their maladies. Here, also, are the small bath-houses erected by the proprietors, for the use of which a handsome sum is generally exacted. The medicinal properties of each fountain seem to be different, and the invalid can use that best adapted to his case. Just over there to our right, in the mouth of a little gorge, coming down from the mountain, by the side of the sparkling brook of snowwater, among the pine-trees, where the smoke is curling up from many fires, are the camps of the tourists and invabds who have come hither, and are abiding in rudely-constructed cabins, some in tents, enjoying all the luxuries of camp-life. Rather a motley, though quite a lively, group. Some remarkable cures have been effected here, mostly of diseases of the skin, and rheumatism. But I think that the invigorating mountain-air and the healthful influence of camp-life have much to do with many cures that are effected, as these are known to be wonderful remedies in themselves for many of the ills which flesh is heir to.

    ∞§∞

    — From Edwin James Stanley, Rambles in Wonderland, Or Up The Yellowstone, New York: D. Appleton and Company, 1883.  pages 54-58.

    — Coppermine Photo Gallery Image.

    — You might also enjoy Edwin J. Stanley’s “Guiding the Nez Perce Through Yellowstone Park.”

  • Moran’s Legacy 1: Paintings of the Yellowstone Wonderland

    The Grand Canyon of the Yellowstone by Thomas Moran

    This post begins a series on the legacy of Yellowstone images left by Thomas Moran. Moran accompanied the famous 1871 Hayden Expedition to the area that became Yellowstone National Park a year later. He did studies and water color sketches of more than thirty sights.

    Later he produced dramatic oil paintings like “The Grand Canyon of the Yellowstone.” The U.S. Congress purchased this twelve-by-seven-foot painting and hung it in the U.S. Capital. It’s now on view at the Smithsonian. 

    Images by Moran (along with photographs by William Henry Jackson) were distributed to members of the U.S. Congress before the vote to make Yellowstone the world’s first national park.  While Moran’s images are credited with stimulating the affirmative vote, he didn’t consider himself a documentarian. Here’s Moran’s description of his philosophy of art.

    ∞§∞

    Thomas Moran

    I place no value upon literal transcripts from Nature. My general scope is not realistic; all my tendencies are toward idealization. Of course, all art must come through Nature: I do not mean to depreciate Nature or naturalism; but I believe that a place, as a place, has no value in itself for the artist only so far as it furnishes the material from which to construct a picture.

    Topography in art is valueless. The motive or incentive of my ‘ Grand Canon of the Yellowstone’ was the gorgeous display of color that impressed itself upon me. Probably no scenery in the world presents such a combination. The forms are extremely wonderful and pictorial, and, while I desired to tell truly of Nature, I did not wish to realize the scene literally, but to preserve and to convey its true impression.

    Every form introduced into the picture is within view from a given point, but the relations of the separate parts to one another are not always preserved. For instance, the precipitous rocks on the right were really at my back when I stood at that point, yet in their present position they are strictly true to pictorial Nature; and so correct is the whole representation that every member of the expedition with which I was connected declared, when he saw the painting, that he knew the exact spot which had been reproduced.

    My aim was to bring before the public the character of that region. The rocks in the foreground are so carefully drawn that a geologist could determine their precise nature. I treated them so in order to serve my purpose. In another work, ‘The Mountain of the Holy Cross,’ the foreground is intensely realistic also: its granite rocks are realized to the farthest point that I could carry them; and the idealization of the scene consists in the combination and arrangement of the various objects in it. At the same time, the combination is based upon the characteristics of the place.

    My purpose was to convey a true impression of the region; and as for the elaborated rocks, I elaborated them out of pure love for rocks. I have studied rocks carefully, and I like to represent them.”

    ∞§∞

    Thomas Moran quotation from G. W. Sheldon, American Painters: With Eighty-Three Examples of Their Work Engraved on Wood. New York: D. Appleton and Company, 1879. pages 125-126.

    — Moran portrait is a detail from a Wikipedia Commons photo.

    — You might also enjoy “Thomas Moran Painted His Impression of the Grand Canyon of the Yellowstone.”

  • Moran’s Legacy 1: Paintings of the Yellowstone Wonderland

    The Grand Canyon of the Yellowstone by Thomas Moran

    This post begins a series on the legacy of Yellowstone images left by Thomas Moran. Moran accompanied the famous 1871 Hayden Expedition to the area that became Yellowstone National Park a year later. He did studies and water color sketches of more than thirty sights.

    Later he produced dramatic oil paintings like “The Grand Canyon of the Yellowstone.” The U.S. Congress purchased this twelve-by-seven-foot painting and hung it in the U.S. Capital. It’s now on view at the Smithsonian. 

    Images by Moran (along with photographs by William Henry Jackson) were distributed to members of the U.S. Congress before the vote to make Yellowstone the world’s first national park.  While Moran’s images are credited with stimulating the affirmative vote, he didn’t consider himself a documentarian. Here’s Moran’s description of his philosophy of art.

    ∞§∞

    Thomas Moran

    I place no value upon literal transcripts from Nature. My general scope is not realistic; all my tendencies are toward idealization. Of course, all art must come through Nature: I do not mean to depreciate Nature or naturalism; but I believe that a place, as a place, has no value in itself for the artist only so far as it furnishes the material from which to construct a picture.

    Topography in art is valueless. The motive or incentive of my ‘ Grand Canon of the Yellowstone’ was the gorgeous display of color that impressed itself upon me. Probably no scenery in the world presents such a combination. The forms are extremely wonderful and pictorial, and, while I desired to tell truly of Nature, I did not wish to realize the scene literally, but to preserve and to convey its true impression.

    Every form introduced into the picture is within view from a given point, but the relations of the separate parts to one another are not always preserved. For instance, the precipitous rocks on the right were really at my back when I stood at that point, yet in their present position they are strictly true to pictorial Nature; and so correct is the whole representation that every member of the expedition with which I was connected declared, when he saw the painting, that he knew the exact spot which had been reproduced.

    My aim was to bring before the public the character of that region. The rocks in the foreground are so carefully drawn that a geologist could determine their precise nature. I treated them so in order to serve my purpose. In another work, ‘The Mountain of the Holy Cross,’ the foreground is intensely realistic also: its granite rocks are realized to the farthest point that I could carry them; and the idealization of the scene consists in the combination and arrangement of the various objects in it. At the same time, the combination is based upon the characteristics of the place.

    My purpose was to convey a true impression of the region; and as for the elaborated rocks, I elaborated them out of pure love for rocks. I have studied rocks carefully, and I like to represent them.”

    ∞§∞

    Thomas Moran quotation from G. W. Sheldon, American Painters: With Eighty-Three Examples of Their Work Engraved on Wood. New York: D. Appleton and Company, 1879. pages 125-126.

    — Moran portrait is a detail from a Wikipedia Commons photo.

    — You might also enjoy “Thomas Moran Painted His Impression of the Grand Canyon of the Yellowstone.”