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谢尔顿-奥林-帕森斯

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Born in 1866 and trained at the National Academy of Design under William Merritt Chase, Parsons was among Santa Fe's earliest resident painters when he arrived in 1913. Parson had contracted tuberculosis the prior year, and the desert climate suited his health, but it was the intense desert light and its dramatic landscape that aroused his aesthetic sensibilities. An accomplished New York portraitist, he was thrilled to replace those former soft, dark tones with high-keyed hues that conveyed the warmth and color of the Southwest landscape. Parsons was not a modernist, but as curator of the newly established Museum of Fine Arts in Santa Fe, he welcomed modernists, including Robert Henri, Stuart Davis, Marsden Harley, John Sloan, and others, to show at the museum. His stance brought a firestorm of condemnation leading to his dismissal in 1922. <br><br>Parsons painted the Grand Canyon on several occasions. Immortalized in paint by artists from Thomas Moran to the Taos founders and innumerable contemporary artists, Parsons' earliest known example, Morning in the Canyon, is dated 1916.
Born in 1866 and trained at the National Academy of Design under William Merritt Chase, Parsons was among Santa Fe's earliest resident painters when he arrived in 1913. Parson had contracted tuberculosis the prior year, and the desert climate suited his health, but it was the intense desert light and its dramatic landscape that aroused his aesthetic sensibilities. An accomplished New York portraitist, he was thrilled to replace those former soft, dark tones with high-keyed hues that conveyed the warmth and color of the Southwest landscape. Parsons was not a modernist, but as curator of the newly established Museum of Fine Arts in Santa Fe, he welcomed modernists, including Robert Henri, Stuart Davis, Marsden Harley, John Sloan, and others, to show at the museum. His stance brought a firestorm of condemnation leading to his dismissal in 1922. <br><br>Parsons painted the Grand Canyon on several occasions. Immortalized in paint by artists from Thomas Moran to the Taos founders and innumerable contemporary artists, Parsons' earliest known example, Morning in the Canyon, is dated 1916. Born in 1866 and trained at the National Academy of Design under William Merritt Chase, Parsons was among Santa Fe's earliest resident painters when he arrived in 1913. Parson had contracted tuberculosis the prior year, and the desert climate suited his health, but it was the intense desert light and its dramatic landscape that aroused his aesthetic sensibilities. An accomplished New York portraitist, he was thrilled to replace those former soft, dark tones with high-keyed hues that conveyed the warmth and color of the Southwest landscape. Parsons was not a modernist, but as curator of the newly established Museum of Fine Arts in Santa Fe, he welcomed modernists, including Robert Henri, Stuart Davis, Marsden Harley, John Sloan, and others, to show at the museum. His stance brought a firestorm of condemnation leading to his dismissal in 1922. <br><br>Parsons painted the Grand Canyon on several occasions. Immortalized in paint by artists from Thomas Moran to the Taos founders and innumerable contemporary artists, Parsons' earliest known example, Morning in the Canyon, is dated 1916. Born in 1866 and trained at the National Academy of Design under William Merritt Chase, Parsons was among Santa Fe's earliest resident painters when he arrived in 1913. Parson had contracted tuberculosis the prior year, and the desert climate suited his health, but it was the intense desert light and its dramatic landscape that aroused his aesthetic sensibilities. An accomplished New York portraitist, he was thrilled to replace those former soft, dark tones with high-keyed hues that conveyed the warmth and color of the Southwest landscape. Parsons was not a modernist, but as curator of the newly established Museum of Fine Arts in Santa Fe, he welcomed modernists, including Robert Henri, Stuart Davis, Marsden Harley, John Sloan, and others, to show at the museum. His stance brought a firestorm of condemnation leading to his dismissal in 1922. <br><br>Parsons painted the Grand Canyon on several occasions. Immortalized in paint by artists from Thomas Moran to the Taos founders and innumerable contemporary artists, Parsons' earliest known example, Morning in the Canyon, is dated 1916. Born in 1866 and trained at the National Academy of Design under William Merritt Chase, Parsons was among Santa Fe's earliest resident painters when he arrived in 1913. Parson had contracted tuberculosis the prior year, and the desert climate suited his health, but it was the intense desert light and its dramatic landscape that aroused his aesthetic sensibilities. An accomplished New York portraitist, he was thrilled to replace those former soft, dark tones with high-keyed hues that conveyed the warmth and color of the Southwest landscape. Parsons was not a modernist, but as curator of the newly established Museum of Fine Arts in Santa Fe, he welcomed modernists, including Robert Henri, Stuart Davis, Marsden Harley, John Sloan, and others, to show at the museum. His stance brought a firestorm of condemnation leading to his dismissal in 1922. <br><br>Parsons painted the Grand Canyon on several occasions. Immortalized in paint by artists from Thomas Moran to the Taos founders and innumerable contemporary artists, Parsons' earliest known example, Morning in the Canyon, is dated 1916. Born in 1866 and trained at the National Academy of Design under William Merritt Chase, Parsons was among Santa Fe's earliest resident painters when he arrived in 1913. Parson had contracted tuberculosis the prior year, and the desert climate suited his health, but it was the intense desert light and its dramatic landscape that aroused his aesthetic sensibilities. An accomplished New York portraitist, he was thrilled to replace those former soft, dark tones with high-keyed hues that conveyed the warmth and color of the Southwest landscape. Parsons was not a modernist, but as curator of the newly established Museum of Fine Arts in Santa Fe, he welcomed modernists, including Robert Henri, Stuart Davis, Marsden Harley, John Sloan, and others, to show at the museum. His stance brought a firestorm of condemnation leading to his dismissal in 1922. <br><br>Parsons painted the Grand Canyon on several occasions. Immortalized in paint by artists from Thomas Moran to the Taos founders and innumerable contemporary artists, Parsons' earliest known example, Morning in the Canyon, is dated 1916. Born in 1866 and trained at the National Academy of Design under William Merritt Chase, Parsons was among Santa Fe's earliest resident painters when he arrived in 1913. Parson had contracted tuberculosis the prior year, and the desert climate suited his health, but it was the intense desert light and its dramatic landscape that aroused his aesthetic sensibilities. An accomplished New York portraitist, he was thrilled to replace those former soft, dark tones with high-keyed hues that conveyed the warmth and color of the Southwest landscape. Parsons was not a modernist, but as curator of the newly established Museum of Fine Arts in Santa Fe, he welcomed modernists, including Robert Henri, Stuart Davis, Marsden Harley, John Sloan, and others, to show at the museum. His stance brought a firestorm of condemnation leading to his dismissal in 1922. <br><br>Parsons painted the Grand Canyon on several occasions. Immortalized in paint by artists from Thomas Moran to the Taos founders and innumerable contemporary artists, Parsons' earliest known example, Morning in the Canyon, is dated 1916. Born in 1866 and trained at the National Academy of Design under William Merritt Chase, Parsons was among Santa Fe's earliest resident painters when he arrived in 1913. Parson had contracted tuberculosis the prior year, and the desert climate suited his health, but it was the intense desert light and its dramatic landscape that aroused his aesthetic sensibilities. An accomplished New York portraitist, he was thrilled to replace those former soft, dark tones with high-keyed hues that conveyed the warmth and color of the Southwest landscape. Parsons was not a modernist, but as curator of the newly established Museum of Fine Arts in Santa Fe, he welcomed modernists, including Robert Henri, Stuart Davis, Marsden Harley, John Sloan, and others, to show at the museum. His stance brought a firestorm of condemnation leading to his dismissal in 1922. <br><br>Parsons painted the Grand Canyon on several occasions. Immortalized in paint by artists from Thomas Moran to the Taos founders and innumerable contemporary artists, Parsons' earliest known example, Morning in the Canyon, is dated 1916.
大峡谷系列19439 x 12 英寸（22.86 x 30.48 厘米(22.86 x 30.48 厘米）油画
种源
内德拉-马特乌奇画廊，新墨西哥州圣达菲
私人收藏，购自上述收藏，2004 年 12 月 12 日
帕森斯出生于 1866 年，曾在威廉-梅里特-蔡斯（William Merritt Chase）的指导下在美国国家设计学院接受培训，1913 年抵达圣达菲时已是圣达菲最早的常驻画家之一。帕森在前一年患上了肺结核，沙漠的气候适合他的健康，但沙漠强烈的光线和壮丽的景观唤起了他的审美情趣。作为一名出色的纽约肖像画家，他很高兴能用高调的色调来取代以前那些柔和、阴暗的色调，从而传达出西南部景观的温暖和色彩。帕森斯不是一个现代主义者，但作为圣达菲新成立的美术博物馆的馆长，他欢迎罗伯特-亨利、斯图尔特-戴维斯、马斯登-哈雷、约翰-斯隆等现代主义者在博物馆展出。他的立场招致了一片谴责之声，导致他于 1922 年被解雇。

帕森斯曾多次为大峡谷作画。从托马斯-莫兰（Thomas Moran）到陶斯创始人以及无数的当代艺术家都曾在帕森斯的画作中留下永生的印记，帕森斯最早的作品《峡谷的早晨》的创作时间是 1916 年。
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