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Thomas Starr King

Another Moleskine journal, another first page; Sometimes I start with a self-portrait or a poem, but this time I begin with a sketch of a statue of Thomas Starr King. Drawing a statue has its benefits. It doesn’t move, providing a good opportunity to practice the human form. But on a greater level I wanted to sketch this statue because of the man it represents. Starr King is often described as a “fiery orator” and “the orator who saved the nation”. He is credited by Lincoln for keeping California in the Union during the Civil War. Starr King, unlike Lincoln, is far from a household name. And that is exactly why this statue was created in 1931 and placed in the National Statuary Hall collection as a representative of California (along with Father Junipero Serra), just so future generations would remember his name and deeds.  The statue remained in Washington D.C. for 78 years until he was usurped by a stature of Ronald Reagan. A congressman from Orange County pushed for Reagan’s statue to be installed, no doubt unaware of Starr King’s importance to California’s legacy. One argument was that Starr King was not born in California; he was born in New York. Following that line of reasoning, the Serra statue should be removed because he was born in Majorca, Spain. And where was Reagan born? Oh yes, in the state of Illinois. Isn’t politics lovely?

This statue now sits outside on the east side of California’s state capitol building in Sacramento.  How many visitors stroll past this statue and stop to read the plaque about this important California figure? Sketching has taught me to be aware, to notice small details, to explore the backwaters, and to look at statues representing some forgotten someone.

 

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Hello From the Golden Gate

The Golden Gate Bridge is perhaps the most photographed bridge in the world, so for my first post, I add to the endless body of images of this California icon. Why? If you want to overcome your fear of sketching in public, first choose a Sunday morning in July and then select a slightly unorthodox view of one of the biggest tourist attractions in California: the Golden Gate Bridge (from Fort Point), made famous in Hitchcock’s Vertigo. I can just imagine seeing James Stewart pulling a near lifeless Kim Novak from the frigid waters below the arching span. But I can also hear the rumble of yet another tour bus that deposits it’s load of tourists, a school group in this case, all rushing to the rusted chain barrier, stopping and photographing the bridge (yet again) with camera or phone and then posing for a group photo as the tour guide barks out orders in a Monty Pythonesque voice (don’t ask, I just live here). All the while the sketcher tries to fain obliviousness to the horde that are almost perched on his left shoulder. Maybe they are even photographing me. Everyone becomes part of the scenery and spectacle in San Francisco. It was much more difficult to fain obliviousness when the big man with his big dog passed by. The big dog looks to be the breed that you see on local evening newscasts, you know, the dog that has the noose around it’s neck as three animal control officers try to wrestle the beast into the back of a wagon. Yes that type of dog. And his massive head was inches from my face!

Well, I survived (journal intact) and the big man with the big dog offered the art critique and the slightly creepy admission: “I like your picture. I was looking over your shoulder.” (I know because I wrote it down as I write down all comments I hear while sketching.)

Just another day sketching in the City.

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The big dog, the big man and the big bridge.