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Show City view The Salt Lake Tribune, S.L.s railroad stations reflect look of nation in another era e g a one-tim- e e d United Press International NEW YORK Few regions of the United States have inspired so many artists over a long period of time as the West, but until recently there has been no one collection that chronicled this phenomenon in depth. The New England coast. Long Island, and New York's Hudson River Valley have had more than their fair share of artists, well represented in major museums and regional collections. Artists who worked in the West also are included in museum collections, but they are only a paltry representation of the scores of painters and sculptors who worked there in the last 150 years. Recognizing this oversight, Denver oilman Philip F. Anschutz has built a collection that covers the field of Western American art like a Navajo blanket. It numbers more than 500 works by more than 100 artists and still is growing. Glorified Views of West Some 91 paintings from the Anschutz collection are currently on exhibit at the American Museum of Natural History as part of a national tour of American museums. Although it is said to be the most inclusive collection of Western art, it will only the with few exceptions confirm popular concept of such art as glorified views of mountain landscapes or action pictures of cowboys and Indians. This probably could not be avoided unless paintings by Indian artists were included, and they weren't. As expected, Anschutz has collected all the big names associated with romantic depiction of the American West from the 1830s until today George Catlin, Alfred Jacob Miller, Albert Bierstadt. Thomas Moran. Ralph Blakelock. F'rcderic Remington. Charles Schrevvoeel. Charles M. j Railroad traffic unfortunately in the West, and its completion in 1909 coincided with construction of the present building as a joint terminus of the Rio Grande and Western Pacific lines. During the station's early years, chuffing, clanking, smoking steam locomotives brought Pullmans and heavy steel day coaches to the tracks and "umbrella sheds" behind the Rio Grande's brick terra cotta and marble station. Architect Henry S. Schlachs of Chicago was an expert responsible for similar s along main line railroads else-wdark-gree- n h re in the West and Midwest. Thus hasic design needed to undergo fev, .f any changes when the gleaming, streamlined "California Zephyr" I the era became the crack Grande-Westertrain on the Burlington-RiPacific route between Chicago. Denver, Salt Lake City and the Golden Gate. The baggage room, express counters and offices at the south end, a ticket windows along the walls, and a coffee in the north wing were more than adequate for passenger service. They were, of course, as faovercrowded as any cilities elsewhere during the hectic of post-wa- r o n half-doze- n rail-relate- d dwindled lo the point that the Rio Grande, although the last line in the nation to operate a train, finally petitioned to abandon its "Denver Zephyr" in the mid-70The street cars that served the station in its heyday had long since trundled off to the scrapyard, taxis and motorists no longer swung into parking spaces outside the depot and baggage room, and the station became part of Utah history in more ways than one. As for AMTRAKs new blue double-deckestreamliner to the Pacific Northwest, Los Angeles, San Francisco. Chicago and destinations betwixt and between, their schedules were no longer marked up on the big blackboard in the Rio Grande waiting room. Instead, their passengers were, and arc, handled at the red brick, French Empire-stylUnion Pacific station a few blocks north. Present Impasse All of which leads to the present impasse. To begin with, the Union Pacific officialdom has let it be known, unofficially if not otherwise, that AMTRAK passenger traffic interferes g with use at their 1909 station at South Temple and Fourth West. Officials in their turn, have made it clear that they would rather be housed in even a smallish south Rio wing sector of the Russell, Winold Reiss, and Georgia O'Keeffe. He also has collected European and minor American artists who worked in the West, most of whom shared a fascination for the rugged terrain and native tribes, together with 20th century artists whose names are more usually linked with New York and the development of modern art. Fits Format of Show Among the latter group office-buildin- state-owne- d neath incredibly blue skies; the buffalo is only recalled by a view of tens of thousands of them depicted by William Jacob Hays in "The Gathering of the Herds". Ecological concerns are avoided with one exception. This is the painting titled "Dirt Rider" by Idaho-borChuck Forsman, 41. It shows desert hillocks interlaced with gouged tire tracks, the depredation of uncaring, cyclists. A motorcycle displayed nearby takes on an aura of menace missing in the more nostalgic Americana on display. One of the most impressive paintings is a monumental study of nine Oglalla Sioux chiefs by Elbridge Ayer Burbank, painted in 1900 in a style that prefigured the photo-realis- t painting popular today. Harold Joe Waldrum s 1934 "Church of Arroyo Hondo" and Victor Higgins 1927 "Pueblo of Taos" are especially arresting for their simplified forms and broad planes of color. Mans World The fraternity of Western painters was a man's world, with the exception of OKeeffe, Frankenthaler, and Grace Hudson OKeeffe's abstracted landscapes have shaped our contemporary image of the essential West, while pure abstractions memorialize desert colors. paintings were selected for exhibit are Robert Henri, John Sloan, Ernest Lawson, George Bellows, John Marin, Marsden Hartley, Stuart Davis, Helen Frankenthaler, and Jackson Pollock. None generally is known as a Western artist, although Pollock was bred in the West, but what they painted during Western visits fits the format of the show and its title, Masterpieces of the American Wegt. The exhibits mounting splendidly evokes the Southwest, ineprporating adobe structures, live cactus, and carpeting. Such relics of the pioneer past as a yellow stage coach, wagon wheels, powder kegs, Winchester rifles and Colt revolvers, tooled leather saddles, U;S. Cavalry uniforms, cowboy and Indian gear, and Hopi Kachina dolls, are tied into the subject matter of the paintings, which are almost all narrative or decorative. There are no paintings that deal with the sociological problems of the Indian, although the brilliant Russian artist Nicolai Fechin caught an undercurrent of defiance in his portraits. Indians are depicted in the tradition of noble savages," happy in the performance of ritual dances, a myth perpetuated by the New Mexican art colonies in Taos and Santa Fe. Idealized Landscape The Western landscape also is idealized as untamed, stretching be sand-colore- d State Historical Society, is the design of Grande station than in the present Union Pacific quarters. The problem, as they see it, is one of switching and track layout, rather than of ticket sales counter and baggage space. When their premiere train rolls in each evening from Denver and Chicago. it arrives over Rio Grande rails, meaning it must be laboriously backed and switched to Seattle, Los Angeles and Oakland. When the trio of trains returns from points West, Northwest and Southwest, it must be reassembled by dint of expensive switching and shunting before journeying East. AMTRAK officials say 6 e ease any hunger pangs. The structure is so large that the Historical Society displays, library and offices, plus the cafe, could continue to serve the puband serve AMTRAK passengers lic and officials as well. After youve inspected the Rio Grande station, with us huge arching windows and period-piec- e architectural elements, visit the Union Pacific station if only to view its stained glass windows and paintings, These reflect the look of the nation when railroads and their stations were of far more concern to Salt Lake City citizens than they are use of Rio Grande and Western Pacific switches and trackage back of the Third South station would mean sizeable savings in both time and cash -even though the Western Pacific has been integrated into the Union Pacific lines. If youve the time and the inclination, you might stroll to and through both railroad stations, if only to see how spaciously and carefully such structures were engineered in - rt days. The Rio Grande station, besides its continuing cycle of historic displays, has a pleasant Mexican cafe in its north wing, where you can today. PLAYER PIANOS BUND CLEANING Think of the fun you can have at your house as family, friends and neighbors gather around your brand new piano. Come in. youll see how easy it is to (ill the air with music from the library of SPECIALS IfflltF: vvlEU over three thousand player piano rolls available. One Day Service g (1865-1937- Shop daily & Sat. 10-- 6 2233 South 700 East 19 486-8- 1 Strange advice from the authors: ). But that's only the beginning, if the peaceniks have their way and Russia ever docs lake over. The alternative might be to spend the rest of your days up near the Arctic Circle. Fran-kenthale- Say, whats going on here? Has the Conservative Book Club suddenly started offering kooky books? Hudsons's carefully observed "Grasshopper Dance" is one of her nearly 700 depictions of California's Porno Indian tribe. She was never adopted by the Pomos but another artist, John Hauser, was inducted in 1901 into the Sioux Nation, whose tribesmen he painted with documentary accuracy. 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Structure fea tures period-piecarchitectural elements. The Rio Grande station, now housing Utah n thrill-seekin- whose Drawing by Jack Goodman e Major exhibit of Western art is on tour across the nation By Frederick M. Winslup T Ji,l O E5 12, 1986 years of World War II when whole "fleets" of trains hailed here and at the Union Pacific Station three blocks north. Despite the streamliner-stylneon sign atop its broad, sloping roof the block-lonBeaux Arts structure at 300 South and Rio Grande Street no longer serves as a railroad station Instead, it very adequately houses the I tah State Historical Society, having served as much since 1980 or there abouts. Under the leadership of Dr Melvin Smith, the spacious waiting room (almost 150 feel long) has been turned into useful exhibition space for display of Utah memorabilia and for periodic showings of historic material from elsewhere in the west Very able staff members have made the building, with its library, photo catalogues, prints and a sizeable number of displays dealing with the peoples of Utah, something of a mec-cfor history buffs. However, all is not as serene as dethings may seem at the ' pot. Politics hemp are, th in itut iun s direr tor I. j been "b. j.'.ud. me ; iing other for ui display and library space may be in the offering. Perhaps more important is the continuing debate roncom ing the handsome buildings use of non-usas an AMTRAK station. Architect From Chicago Down through the years, thousands of passengers alighted from, or stepped on board such Rio Grande trains as the Denver-boun"Prospector" or the crack "Exposition Flyer," which headed west for the Oakland Mole over the tracks of the Western Pacific Railroad. The latter, by the way. was the last major railroad built - Sunday, January CONSERVATIVE I!! BOOK CLUB 15 OAKLAND AVENUE HARRISON. NY 10528 Plea.se accept my menibci ship in the L lub or.J send t Ktt ll hul to Do II Iwn the Russians Come by Robert Conquest & J. M. While. I agree lo buy 3 avldition.il books al tegular Club prices over the next 18 months. I .d'O agree lo the Club rules spelled T i oui in ibis coupon. - Name Address. Lily |
