STORY BEHIND THE ART OF CATHERINE DELLOR
22nd Annual International
American Society of Botanical Artists at Marin Art & Garden Center
Sierra Lodgepole Pine
Pinus contorta var. murrayana
Sierra lodgepole pine is an evergreen conifer native to the western United States. It is found from the Cascade Range in Washington through the Sierra Nevadas in northern California, the Transverse and Peninsular Ranges in southern California and into northern Baja California. It occurs from 5,000 to 11,600 feet elevation in California. Sierra lodgepole pine grow across nearly the entire spectrum of soil moisture conditions and regenerates well on poor soils, rocky slopes and exposed sites, hence it is widely planted in Great Britain and New Zealand. According to Yosemite National Park staff, the oldest known lodgepole pine in the United States is located just east of Tuolumne. A tree-ring sample from a fire scar indicated germination in 1381.
Thirty-one mammals and almost 50 bird species use Sierra lodgepole pine forests for food, cover or habitat. The wood is light, straight grained and uniform in texture though the species name “contorta” derives from the tree’s twisted growth pattern. It’s common name, lodgepole, comes from its use as structural poles for the Native American tipi shelter and is still in use as such.
The specimens used for this painting came from the same tree outside a Squaw Valley ski club lodge in Olympic Village near Lake Tahoe in California. Though they were from the same tree, they were taken several years apart.
In August of 2012, a group of fellow botanical artists got together at the Palo Alto Ski Club Lodge at Squaw Valley for a long weekend of hiking, painting wildflowers, cooking and just girl time. The pine outside the lodge had the most amazing golden male cones showing their stuff so I left the wildflowers to the others. I painted them right away and brought home several small limbs and cones to complete the piece later. I did not finish it for another two years but did get more samples each time we used the lodge. I eventually exhibited it in 2014 with Mary Harden’s group with whom I have been painting since 2008.
There was something about the piece that always bothered me as somewhat sloppy so I recently got some new specimens, took it out of its frame and got to work. I added more needles, cleaning up existing ones whose edges had been hastily painted, as had the bark in places which were reworked. I added the immature female cone to the bottom left, having juuust enough paper to fit it in. I did not touch any of the original male cones or the mature female cone on the main branch.
I am my worst critic but I can say I am reasonably happy with the results and VERY happy that I took it in hand for corrective surgery! I feel the twisting, dancing branches identify itself as “contorta” and the colors are lively and spot on. I would say my work leans toward the dramatic in color and I am working toward that aim in composition.
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