Monet, Manet, Morisot, and the tortured Vincent
a long century or more ago,
filled their palates with color,
their canvases with impressions of life, love and loss.
And we, the great masters of civilization,
have treasured these like newborn babes.
I wandered through the polished halls
of antiquities to see them—
some hidden even from the harsh light of day
to protect their precious prinking from decay.
I strained my eyes to see their soulful strokes
and wondered why artists carried such painful yokes
McMurtry’s ranch has no paintings
but sculptures from a vanished sea.
A quarter billion years it’s been,
and yet they’re here for all to see
Rocks carved by patient scratching time
and stock tanks covered with putrid slime.
No lilies float on pools of blue
and no guard carefully watches you
Their sentries are the desert rattlers
and the sun scorched prairie lands,
but these ancient masterpieces
are safe from filching hands.
When I kneel on hard rock soil,
I forget my daily useless toil
and dig in clean eternal dirt
with no canvases to belie the hurt
of gentle men who felt the call
to let their heart be seen by all
Monet, Manet, and Morisot
are now laid to rest, with their burdens set aside,
but their colors are a reminder
that beauty and suffering abide
McMurtry’s rocks no longer feel,
but who could say they are less real
than colors fading from the light
and lonely artists’ painful plight.
Aug 18, 2012
Aug 18, 2012 at 4:17 PM UTC
Monet, Manet, Morisot, and the tortured Vincent
a long century or more ago,
filled their palates with color,
their canvases with impressions of life, love and loss.
And we, the great masters of civilization,
have treasured these like newborn babes.
I wandered through the polished halls
of antiquities to see them—
some hidden even from the harsh light of day
to protect their precious prinking from decay.
I strained my eyes to see their soulful strokes
and wondered why artists carried such painful yokes
McMurtry’s ranch has no paintings
but sculptures from a vanished sea.
A quarter billion years it’s been,
and yet they’re here for all to see
Rocks carved by patient scratching time
and stock tanks covered with putrid slime.
No lilies float on pools of blue
and no guard carefully watches you
Their sentries are the desert rattlers
and the sun scorched prairie lands,
but these ancient masterpieces
are safe from filching hands.
When I kneel on hard rock soil,
I forget my daily useless toil
and dig in clean eternal dirt
with no canvases to belie the hurt
of gentle men who felt the call
to let their heart be seen by all
Monet, Manet, and Morisot
are now laid to rest, with their burdens set aside,
but their colors are a reminder
that beauty and suffering abide
McMurtry’s rocks no longer feel,
but who could say they are less real
than colors fading from the light
and lonely artists’ painful plight.
In the summer of 2008, I made a trip to the Kimbell Art Museum in Forth Worth, Texas, USA, to see the Impressionist Exhibit and then 48 hours later was digging in the dirt for fossils at the ranch of a close friend--the hot dry rocky inhospitable terrain I seem to love. I was struck by the contrast between my experience with high art on a Saturday and clawing in the hot hard earth the following Monday
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