21 DEDICATION My journey with Tony began not in Pinedale, Wyoming, as we prepared to backpack into the Wind River Mountains together in the fall of 2022, but years before with the facilitation of a mutual friend and valued colleague, Peter H. Hassrick (1941–2019). Peter, a renowned western American art scholar and mentor to many, including myself, first pointed me to Tony’s series 16 Days Rafting the Colorado (2000–2001) at the Denver Art Museum, where I was working in the late 2000s for Peter as a research fellow. Later, Peter introduced me to Tony himself in my role as Scarlett Curator of the Whitney Western Art Museum at the Buffalo Bill Center of the West in Cody, Wyoming, where Peter was enjoying a working retirement as Director Emeritus and Senior Scholar. I subsequently invited Tony to join us in Cody for a weeklong summertime residency in 2019 after he finished a rafting journey on the Green River. We had the opportunity to discuss future collaborations and, as our tea bags steeped, so too did the idea of an exhibition celebrating the Green. I am grateful to Peter for introducing me to Tony, and it is thanks to him that Tony’s Green River Journey will debut in Cody. It is thanks to Peter, too, that I have an appreciation for the art histories of the Green. Peter Hassrick with his family, July 1988, A week- long, spot-pack trip into the Winds from the Big Sandy entry. L to R: Philip, Buzzy, Charles and Peter Hassrick after a successful hike up Fremont Peak, Wyoming. ENDNOTES 1 Ann Zwinger, Run, River, Run: A Naturalist’s Journey Down One of the Great Rivers of the West (University of Arizona Press, 1975), 3. 2 Ann Zwinger, in Run, River, Run, offers an eloquent and detailed description of the river’s source in her first two chapters, and my description here of the Wind Rivers, Squaretop, and the Green River Lakes is written in homage to her poetic style in her seminal reference on the Green River. 3 Alfred Jacob Miller, Rough Draughts for Notes to Indian Sketches, reproduced in Marvin C. Ross, The West of Alfred Jacob Miller (1837), from the Notes and Water Colors in The Walters Art Gallery (Rev. ed. Norman: University of Oklahoma Press, 1968), 82. 4 See Nancy K. Anderson, “The Kiss of Enterprise: The Western Landscape as Symbol and Resource,” in W.H. Truettner, ed., The West as America: Reinterpreting Images of the Frontier, 1820–1920, (Washington, D.C., and London: Smithsonian Institution Press, 1991), 237–283. 5 Ron Tyler, “A Biography of Alfred Jacob Miller (1810–1874),” Fur Traders & Rendezvous: The Alfred Jacob Miller Online Catalogue, accessed February 14, 2023, https://alfredjacobmiller. com/explore/biography/. 6 Jim Hardee and Clay Landry, “Alfred Jacob Miller’s 1837 Trip to Rendezvous,” Fur Traders & Rendezvous: The Alfred Jacob Miller Online Catalogue, accessed February 14, 2023, https://alfredjacobmiller.com/ explore/trip-to-rendezvous/. 7 Miller, like William Colman and Thomas Moran later, was especially inspired by the aesthetic of the English Romantic painter Joseph Mallord William Turner (1775–1851). See: Patricia Trenton and Peter H. Hassrick, The Rocky Mountains: A Vision for Artists in the Nineteenth Century (Norman: University of Oklahoma Press, published in association with the Buffalo Bill Historical Center, Cody, WY, 1983), 32. A particularly Turnerian watercolor of Miller’s is Effects of Rain Clouds on Lake, Gilcrease Museum, 0126.746. 8 Trenton and Hassrick, 34 & 37. In Miller’s first major exhibition of western work at New York City’s Apollo Gallery, four of eighteen paintings were landscapes. Among his later commissions for patron William T. Walters, around twenty paintings of 200 were landscapes. 9 Kevin J. Avery, “Thomas Cole (1801–1848),” in Heilbrunn Timeline of Art History (New York: The Metropolitan Museum of Art, 2000–, August 2009), http:// www.metmuseum.org/toah/hd/ cole/hd_cole.htm. 10 Ron Tyler, ed., Alfred Jacob Miller: Artist on the Oregon Trail, with a Catalogue Raisonné by Karen Dewees Reynolds & William R. Johnston (Fort Worth: Amon Carter Museum, 1982), 33–34. 11 Ibid., 33–36. 12 See Martha Sandweiss, Print the Legend: Photography and the American West (New Haven and London: Yale University Press, 2002). 13 See Andrew J. Russell, The Great West Illustrated in a series of photographic views across the continent taking along the line of the Union Pacific Railroad west from Omaha, Nebraska (Union Pacific Railroad, 1869). 14 Ferdinand V. Hayden and Andrew J. Russell, Sun pictures of Rocky Mountain scenery: with a description of the geographical and geological features, and some account of the resources of the great West; containing thirty photographic views along the line of the Pacific Rail Road, from Omaha to Sacramento (New York: Julius Bien, 1870). 15 Ferdinand V. Hayden and W.H. Jackson, Descriptive Catalog of the Photographs of the United States Geological Survey of the Territories, for the years 1869 to 1873 inclusive (Washington, D.C.: U.S. Government Printing Office, 1874). 16 See: Wayne Craven, “Samuel Colman (1832–1920): Rediscovered Painter of Far- Away Places,” The American Art Journal, vol. 8, no. 1 (May 1976): 26–27, https://doi. org/10.2307/1594006; Trenton and Hassrick, The Rocky Mountains, 238–239; Kevin Avery, “Samuel Colman,” in Barbara Novak and Annette Blaugrund, ed., Next to Nature: Landscape Paintings from the National Academy of Design (New York: Harper & Row, 1980), 67–69; and Nancy Dustin Wall Moure, “Five Eastern Artists Out West,” The American Art Journal, Vol. 5, No. 2 (Nov, 1973), pp. 15–31, https://doi. org/10.2307/1593952. OVERLEAF Tony Foster, From Lower Green River Lake Looking South South East to Squaretop, 2022 (detail, p. 47) 17 As noted by Nancy K. Anderson, “...Moran never saw Indians in the vicinity of Green River, and the neon hues of the cliffs are more the figments of fantasy than facts of geology.…Far from a report of what Moran saw in the West, Green River Cliffs, Wyoming, is a carefully constructed fiction that taps the same vein of romantic nostalgia that made Hiawatha a bestseller.” Nancy K. Anderson, Thomas Moran (Washington, D.C.: National Gallery of Art, 1997), 49. 18 Anderson, Ibid., 50. 19 Moran was on his way to join the now-famous 1871 expedition in the Yellowstone region, led by geologist F.V. Hayden and including photographer William Henry Jackson. The survey project would ultimately help provide the necessary justification to convince Ulysses S. Grant and Congress to set aside the area as the world’s first national park. 20 Darryl Patrick, “The Iconographical Significance in Selected Subjects by Thomas Moran” (Ph.D. dissertation, North Texas State University, 1978), 64, UNT Theses and Dissertations.
